Coordinated Interpersonal Behaviour in Collective Dance Improvisation: The Aesthetics of Kinaesthetic Togetherness

The effectiveness of group interpersonal synchrony in young autistic adults' work environment: A mixed methods RCT study protocol

INTRODUCTION

Few autistic adults are able to integrate successfully into the world of work given their difficulties adapting to the social and stressful aspects of work environments. Interpersonal synchrony, when two or more individuals share body movements or sensations, is a powerful force that consolidates human groups while promoting the ability to self-regulate and cooperate with others. The abilities to self-regulate and cooperate are crucial for maintaining a calm and productive work environment. This study protocol outlines research that aims to assess the effects of group interpersonal synchrony on prosociality and work-related stress of young autistic adults in their work environment.

METHODS AND ANALYSIS

This mixed-methods randomized controlled trial will investigate two movement-based group synchronous and non-synchronous intervention conditions. The sample will be composed of young adults enrolled in an innovative Israeli program designed to integrate cognitively-abled 18- to 25-year-old autistic adults into the Israeli army work force. The movement-based intervention sessions will take place in groups of 10-14 participants, once a week for 10 weeks. Questionnaires, behavioral collaborative tasks and semi-structured interviews will be conducted. Quantitative data will be collected for each participant at three points of time: before and after the intervention period, and 17 weeks after the end of the intervention. Qualitative data will be collected after the intervention period in interviews with the participants.

DISCUSSION

Little is known about interventions that promote successful integration into social and stressful work environments. The findings are likely to shed new light on the use of group interpersonal synchrony in autistic individuals at work.

TRIAL REGISTRATION

NCT05846308.

How and Why People Synchronize: An Integrated Perspective

Academic AbstractInterpersonal synchrony, the alignment of behavior and/or physiology during interactions, is a pervasive phenomenon observed in diverse social contexts. Here we synthesize across contexts and behaviors to classify the different forms and functions of synchrony. We provide a concise framework for classifying the manifold forms of synchrony along six dimensions: periodicity, discreteness, spatial similarity, directionality, leader-follower dynamics, and observability. We also distill the various proposed functions of interpersonal synchrony into four interconnected functions: reducing complexity and improving understanding, accomplishing joint tasks, strengthening social connection, and influencing partners' behavior. These functions derive from first principles, emerge from each other, and are accomplished by some forms of synchrony more than others. Effective synchrony flexibly adapts to social goals and more synchrony is not always better. Our synthesis offers a shared framework and language for the field, allowing for better cross-context and cross-behavior comparisons, generating new hypotheses, and highlighting future research directions.

Body motion of choral singers

Recent investigations on music performances have shown the relevance of singers' body motion for pedagogical as well as performance purposes. However, little is known about how the perception of voice-matching or task complexity affects choristers' body motion during ensemble singing. This study focussed on the body motion of choral singers who perform in duo along with a pre-recorded tune presented over a loudspeaker. Specifically, we examined the effects of the perception of voice-matching, operationalized in terms of sound spectral envelope, and task complexity on choristers' body motion. Fifteen singers with advanced choral experience first manipulated the spectral components of a pre-recorded short tune composed for the study, by choosing the settings they felt most and least together with. Then, they performed the tune in unison (i.e., singing the same melody simultaneously) and in canon (i.e., singing the same melody but at a temporal delay) with the chosen filter settings. Motion data of the choristers' upper body and audio of the repeated performances were collected and analyzed. Results show that the settings perceived as least together relate to extreme differences between the spectral components of the sound. The singers' wrists and torso motion was more periodic, their upper body posture was more open, and their bodies were more distant from the music stand when singing in unison than in canon. These findings suggest that unison singing promotes an expressive-periodic motion of the upper body.

Dynamics in interbrain synchronization while playing a piano duet

Humans interact with each other through actions that are implemented by sensory and motor processes. To investigate the role of interbrain synchronization emerging during interpersonal action coordination, electroencephalography data from 13 pairs of pianists were recorded simultaneously while they performed a duet together. The study aimed to investigate whether interbrain phase couplings can be reduced to similar bottom-up driven processes during synchronous play, or rather represent cognitive top-down control required during periods of higher coordination demands. To induce such periods, one of the musicians acted as a confederate who deliberately desynchronized the play. As intended, on the behavioral level, the perturbation caused a breakdown in the synchronization of the musicians' play and in its stability across trials. On the brain level, interbrain synchrony, as measured by the interbrain phase coherence (IPC), increased in the delta and theta frequency bands during perturbation as compared to non-perturbed trials. Interestingly, this increase in IPC in the delta band was accompanied by the shift of the phase difference angle from in-phase toward anti-phase synchrony. In conclusion, the current study demonstrates that interbrain synchronization is based on the interpersonal temporal alignment of different brain mechanisms and is not simply reducible to similar sensory or motor responses.

Social and nonlinear dynamics unite: musical group synchrony

Synchronization, the human tendency to align behaviors in time with others, is necessary for many survival skills. The ability to synchronize actions with rhythmic (predictable) sound patterns is especially well developed in music making. Recent models of synchrony in musical ensembles rely on pairwise comparisons between group members. This pairwise approach to synchrony has hampered theory development, given current findings from social dynamics indicating shifts in members' influence within larger groups. We draw on social theory and nonlinear dynamics to argue that emergent properties and novel roles arise in musical group synchrony that differ from individual or pairwise behaviors. This transformational shift in defining synchrony sheds light on successful outcomes as well as on disruptions that cause negative behavioral outcomes.

The dynamics of musical participation

In this paper we argue that our comprehension of musical participation-the complex network of interactive dynamics involved in collaborative musical experience-can benefit from an analysis inspired by the existing frameworks of dynamical systems theory and coordination dynamics. These approaches can offer novel theoretical tools to help music researchers describe a number of central aspects of joint musical experience in greater detail, such as prediction, adaptivity, social cohesion, reciprocity, and reward. While most musicians involved in collective forms of musicking already have some familiarity with these terms and their associated experiences, we currently lack an analytical vocabulary to approach them in a more targeted way. To fill this gap, we adopt insights from these frameworks to suggest that musical participation may be advantageously characterized as an open, non-equilibrium, dynamical system. In particular, we suggest that research informed by dynamical systems theory might stimulate new interdisciplinary scholarship at the crossroads of musicology, psychology, philosophy, and cognitive (neuro)science, pointing toward new understandings of the core features of musical participation.

Positive emotions foster spontaneous synchronisation in a group movement improvisation task

Emotions are a natural vector for acting together with others and are witnessed in human behaviour, perception and body functions. For this reason, studies of human-to-human interaction, such as multi-person motor synchronisation, are a perfect setting to disentangle the linkage of emotion with socio-motor interaction. And yet, the majority of joint action studies aiming at understanding the impact of emotions on multi-person performance resort to enacted emotions, the ones that are emulated based on the previous experience of such emotions, and almost exclusively focus on dyadic interaction. In addition, tasks chosen to study emotion in joint action are frequently characterised by a reduced number of physical dimensions to gain experimental control and subsequent facilitation in data analysis. Therefore, it is not clear how naturalistically induced emotions diffuse in more ecological interactions with other people and how emotions affect the process of interpersonal synchronisation. Here, we show that positive and negative emotions differently alter spontaneous human synchronous behaviour during a multi-person improvisation task. The study involved 39 participants organised in triads who self-reported liking improvisational activities (e.g., dancing). The task involved producing improvisational movements with the right hand. Participants were emotionally induced by manipulated social feedback involving a personal ranking score. Three-dimensional spatio-temporal data and cardiac activity were extracted and transformed into oscillatory signals (phases) to compute behavioural and physiological synchrony. Our results demonstrate that individuals induced with positive emotions, as opposed to negative emotions or a neutral state, maintained behavioural synchrony with other group members for a longer period of time. These findings contribute to the emerging shift of neuroscience of emotion and affective sciences towards the environment  of social significance where emotions appear the most—in interaction with others. Our study showcases a method of quantification of synchrony in an improvisational and interactive task based on a well-established Kuramoto model.

Resonance as a Design Strategy for AI and Social Robots

Resonance, a powerful and pervasive phenomenon, appears to play a major role in human interactions. This article investigates the relationship between the physical mechanism of resonance and the human experience of resonance, and considers possibilities for enhancing the experience of resonance within human-robot interactions. We first introduce resonance as a widespread cultural and scientific metaphor. Then, we review the nature of "sympathetic resonance" as a physical mechanism. Following this introduction, the remainder of the article is organized in two parts. In part one, we review the role of resonance (including synchronization and rhythmic entrainment) in human cognition and social interactions. Then, in part two, we review resonance-related phenomena in robotics and artificial intelligence (AI). These two reviews serve as ground for the introduction of a design strategy and combinatorial design space for shaping resonant interactions with robots and AI. We conclude by posing hypotheses and research questions for future empirical studies and discuss a range of ethical and aesthetic issues associated with resonance in human-robot interactions.

Creative Togetherness. A Joint-Methods Analysis of Collaborative Artistic Performance

In the present study, we combined first-, second-, and third-person levels of analysis to explore the feeling of being and acting together in the context of collaborative artistic performance. Following participation in an international competition held in Czech Republic in 2018, a team of ten artistic swimmers took part in the study. First, a self-assessment instrument was administered to rate the different aspects of togetherness emerging from their collective activity; second, interviews based on video recordings of their performance were conducted individually with all team members; and third, the performance was evaluated by external artistic swimming experts. By combining these levels of analysis in different ways, we explore how changes in togetherness and lived experience in individual behavior may shape, disrupt, and (re-)stabilize joint performance. Our findings suggest that the experience of being and acting together is transient and changing, often alternating phases of decrease and increase in felt togetherness that can be consistently recognized by swimmers and external raters.

It Takes Two: Interpersonal Neural Synchrony Is Increased after Musical Interaction

Music’s deeply interpersonal nature suggests that music-derived neuroplasticity relates to interpersonal temporal dynamics, or synchrony. Interpersonal neural synchrony (INS) has been found to correlate with increased behavioral synchrony during social interactions and may represent mechanisms that support them. As social interactions often do not have clearly delineated boundaries, and many start and stop intermittently, we hypothesize that a neural signature of INS may be detectable following an interaction. The present study aimed to investigate this hypothesis using a pre-post paradigm, measuring interbrain phase coherence before and after a cooperative dyadic musical interaction. Ten dyads underwent synchronous electroencephalographic (EEG) recording during silent, non-interactive periods before and after a musical interaction in the form of a cooperative tapping game. Significant post-interaction increases in delta band INS were found in the post-condition and were positively correlated with the duration of the preceding interaction. These findings suggest a mechanism by which social interaction may be efficiently continued after interruption and hold the potential for measuring neuroplastic adaption in longitudinal studies. These findings also support the idea that INS during social interaction represents active mechanisms for maintaining synchrony rather than mere parallel processing of stimuli and motor activity.

Synchrony in Old Age: Playing the Mirror Game Improves Cognitive Performance

OBJECTIVES

Studies have shown that synchronized motion between people positively affects a range of emotional and social functions. The mirror-game is a synchrony-based paradigm, common to theater, performance arts, and therapy, which includes dyadic synchronized motion, playfulness, and spontaneity. The goal of the current study is to examine the effects of the mirror-game on subjective and cognitive indices in late life.

METHODS

Thirty-four older adults (aged 71-98) participated in a within-group study design. Participants conducted two sessions of 9-minute movement activities: the mirror-game and the control condition - a physical exercise class. Several measures were taken before and after experimental sessions to assess socio-emotional and attentional functions.

RESULTS

The mirror-game enhanced performance on the attention sub-scale and led to faster detections of spoken words in noise. Further, it enhanced perceived partner responsiveness and led to an increase in positive reported experience.

CONCLUSIONS

Our preliminary findings suggest that the mirror-game, rather than the exercise class, may have an immediate impact on mood and some attentional functions.

CLINICAL IMPLICATIONS

The mirror-game is a novel intervention, with potential benefits of social-emotional and cognitive functioning, which can be easily implemented into the daily routine care of older adults. Future studies should explore the effect of the mirror-game on additional cognitive and socio-emotional aspects.

Collectively playable wearable music: Practice-situated approaches to participatory relational inquiry

We present two practice-situated participatory investigations using networked wearable sensors to develop movement-responsive collectively playable musical instruments: a series of four collocated workshops for expert dancers and a distance learning course in which students use wearable technology to enhance embodied learning and feelings of connectedness telematically. We reflect on our exploration of techniques for structuring ensemble improvisations augmented with bespoke digital musical instruments using aggregate statistical measures, such as variance of participants' physical orientation as an index of group intention. Participatory design exchanges top-down design methodologies with bottom-up approaches consulting actors' interests. We follow this approach by evolving our instruments through abductive experiments and trial-and-error tinkering, without strong theories, methods, or models, using elementary signal processing techniques that are meaningfully understood and modified by participants. Our experiences suggest useful scaffolding techniques for educational transdisciplinary research-creation communities seeking to explore relational ensemble dynamics in telematic and/or physically collocated settings using accessible wearable technologies. Through creative inquiry and participation, technical objects can become bearers of sense and meaning rather than instating mystifying or alienating relations for the participants.

The sense of agency in joint action: An integrative review

When people perform joint actions together, their individual actions (e.g., moving one end of a heavy couch) must be coordinated to achieve a collective goal (e.g., moving the couch across the room). Joint actions pose unique challenges for understanding people's sense of agency, because each person engaged in the joint action can have a sense of agency not only at the individual level (a sense that "I moved my end of the couch" or "My partner moved their end of the couch"), but also at the collective level (a sense that "We moved the couch together"). This review surveys research that has examined people's sense of agency in joint action, including explicit judgments of agency, implicit measures of agency, and first-hand accounts of agency in real-world settings. The review provides a comprehensive summary of the factors that influence individual- and collective-level agency in joint action; reveals the progress that has been made toward understanding different forms of collective-level agency in joint action, including the sense that agency is shared among co-actors and the sense that co-actors are acting as a single unit; and synthesizes evidence concerning the relationships between different measures of implicit agency and individual- versus collective-level agency in joint action. The review concludes by highlighting numerous outstanding questions and promising avenues for future research.

[Re]moving Bodies - A Shared Diminished Reality Installation for Exploring Relational Movement

In this article we explore an epistemic approach we name dis/embodiment and introduce “Articulations,” an interdisciplinary project bringing together Virtual Reality (VR) designers, cognitive scientists, dancers, anthropologists, and human–machine interaction specialists. According to Erin Manning, our sense of self and other emerges from processes of bodying and relational movement (becoming oneself by moving in relation with the world). The aim of the project is to exploit the potential of multi-person VR in order to explore the intersubjective dynamics of relational movement and bodying, and to do so with scientific, artistic and therapeutic purposes in mind. To achieve this bridge, we bring up a novel paradigm we name “Shared Diminished Reality”. It consists in using minimalist representation to instantiate users’ bodies in the virtual space. Instead of using humanoid avatars or full body skeletons, we reduce the representation of the moving bodies to three spheres whose trajectories reflect the tracking of the head and the two wrists. This “diminished”virtual rendition of the body-in-movement, we call dis/embodiment. It provides a simple but clear experience of one’s own responsive movement in relation to the world and other bodies. It also allows for subtle manipulations of bodies’ perceptual and cross-perceptual feedback and simplifies the tracking and the analysis of movements. After having introduced the epistemic framework, the basic architecture, and the empirical method informing the installation, we present and discuss, as a proof-of-concept, some data collected in a situated experiment at a science-art event. We investigate motion patterns observed in different experimental conditions (in which participants either could or could not see the representation of their own hands in the virtual space) and their relation with subjective reports collected. We conclude with reflection on further possibilities of our installation in exploring bodying and relational movement.

Socializing Sensorimotor Contingencies

The aim of this review is to highlight the idea of grounding social cognition in sensorimotor interactions shared across agents. We discuss an action-oriented account that emerges from a broader interpretation of the concept of sensorimotor contingencies. We suggest that dynamic informational and sensorimotor coupling across agents can mediate the deployment of action-effect contingencies in social contexts. We propose this concept of socializing sensorimotor contingencies (socSMCs) as a shared framework of analysis for processes within and across brains and bodies, and their physical and social environments. In doing so, we integrate insights from different fields, including neuroscience, psychology, and research on human-robot interaction. We review studies on dynamic embodied interaction and highlight empirical findings that suggest an important role of sensorimotor and informational entrainment in social contexts. Furthermore, we discuss links to closely related concepts, such as enactivism, models of coordination dynamics and others, and clarify differences to approaches that focus on mentalizing and high-level cognitive representations. Moreover, we consider conceptual implications of rethinking cognition as social sensorimotor coupling. The insight that social cognitive phenomena like joint attention, mutual trust or empathy rely heavily on the informational and sensorimotor coupling between agents may provide novel remedies for people with disturbed social cognition and for situations of disturbed social interaction. Furthermore, our proposal has potential applications in the field of human-robot interaction where socSMCs principles might lead to more natural and intuitive interfaces for human users.

Dance Improves Motor, Cognitive, and Social Skills in Children With Developmental Cerebellar Anomalies

In this multiple single-cases study, we used dance to train sensorimotor synchronization (SMS), motor, and cognitive functions in children with developmental cerebellar anomalies (DCA). DCA are rare dysfunctions of the cerebellum that affect motor and cognitive skills. The cerebellum plays an important role in temporal cognition, including SMS, which is critical for motor and cognitive development. Dancing engages the SMS neuronal circuitry, composed of the cerebellum, the basal ganglia, and the motor cortices. Thus, we hypothesized that dance has a beneficial effect on SMS skills and associated motor and cognitive functions in children with DCA. Seven children (aged 7-11) with DCA participated in a 2-month dance training protocol (3 h/week). A test-retest design protocol with multiple baselines was used to assess children's SMS skills as well as motor, cognitive, and social abilities. SMS skills were impaired in DCA before the training. The training led to improvements in SMS (reduced variability in paced tapping), balance, and executive functioning (cognitive flexibility), as well as in social skills (social cognition). The beneficial effects of the dance training were visible in all participants. Notably, gains were maintained 2 months after the intervention. These effects are likely to be sustained by enhanced activity in SMS brain networks due to the dance training protocol.

Interpersonal Coordination in Schizophrenia: A Scoping Review of the Literature

Interpersonal coordination forms the natural bridge between the self and others. It arises from the dynamic and complex set of embodied processes that involve nonverbal behaviors, perceptions, movement, and emotions that support adaptive interactions. Disembodiment has been implicated in a myriad of core clinical phenomena that manifest in a "praecox feeling" in persons with schizophrenia during interpersonal interactions. To further understand mechanisms underlying aberrant interpersonal interactions in schizophrenia, recent research has focused on mimicry, imitation, and interactional synchrony. In this study, we conducted a Pubmed, Web of Science, and PsycInfo database review of the literature on interpersonal coordination in schizophrenia to evaluate the body of work in mimicry, imitation, and interactional synchrony in relation to schizophrenia-spectrum conditions. The results of the review suggest that the sensory-motor processes underlying interpersonal coordination may result in impaired abilities to mimic and synchronize nonverbal behavior during interactions. Opportunities for future progress lie in studies of interpersonal coordination at different developmental stages of psychosis, potential use of interpersonal coordination to improve treatment adherence and reduce stigma, as well as interventions to improve social functioning in people with a serious mental illness.

Toward an Emotional Individual Motor Signature

Bodily expression of felt emotion has been documented in the literature. However, it is often associated with high motor variability between individuals. This study aimed to identify individual motor signature (IMS) of emotions. IMS is a new method of motion analysis and visualization able to capture the subtle differences in the way each of us moves, seen as a kinematic fingerprint. We hypothesized that the individual motor signature would be different depending on the induced emotional state and that an emotional motor signature of joy and sadness common to all participants would emerge. For that purpose, we elicited these emotions (joy, sadness, and a neutral control emotion) in 26 individuals using an autobiographical memory paradigm, before they performed a motor improvization task (e.g., the mirror game). We extracted the individual motor signature under each emotional condition. Participants completed a self-report emotion before and after each trial. Comparing the similarity indexes of intra- and inter-emotional condition signatures, we confirmed our hypothesis and showed the existence of a specific motor signature for joy and sadness, allowing us to introduce the notion of emotional individual motor signature (EIMS). Our study indicates that EIMS can reinforce emotion discrimination and constitutes the first step in modeling emotional behavior during individual task performances or social interactions.

A Practice-Inspired Mindset for Researching the Psychophysiological and Medical Health Effects of Recreational Dance (Dance Sport)

“Dance” has been associated with many psychophysiological and medical health effects. However, varying definitions of what constitute “dance” have led to a rather heterogenous body of evidence about such potential effects, leaving the picture piecemeal at best. It remains unclear what exact parameters may be driving positive effects. We believe that this heterogeneity of evidence is partly due to a lack of a clear definition of dance for such empirical purposes. A differentiation is needed between (a) the effects on the individual when the activity of “dancing” is enjoyed as a dancer within different dance domains (e.g., professional/”high-art” type of dance, erotic dance, religious dance, club dancing, Dance Movement Therapy (DMT), and what is commonly known as hobby, recreational or social dance), and (b) the effects on the individual within these different domains, as a dancer of the different dance styles (solo dance, partnering dance, group dance; and all the different styles within these). Another separate category of dance engagement is, not as a dancer, but as a spectator of all of the above. “Watching dance” as part of an audience has its own set of psychophysiological and neurocognitive effects on the individual, and depends on the context where dance is witnessed. With the help of dance professionals, we first outline some different dance domains and dance styles, and outline aspects that differentiate them, and that may, therefore, cause differential empirical findings when compared regardless (e.g., amount of interpersonal contact, physical exertion, context, cognitive demand, type of movements, complexity of technique and ratio of choreography/improvisation). Then, we outline commonalities between all dance styles. We identify six basic components that are part of any dance practice, as part of a continuum, and review and discuss available research for each of them concerning the possible health and wellbeing effects of each of these components, and how they may relate to the psychophysiological and health effects that are reported for “dancing”: (1) rhythm and music, (2) sociality, (3) technique and fitness, (4) connection and connectedness (self-intimation), (5) flow and mindfulness, (6) aesthetic emotions and imagination. Future research efforts might take into account the important differences between types of dance activities, as well as the six components, for a more targeted assessment of how “dancing” affects the human body.

Effects of Mirror and Metronome Use on Spontaneous Dance Movements

This study investigated effects of mirror and metronome use on spontaneous upper body movements by 10 preprofessional dancers in a motor task in which maximally diverse upper body movement patterns were targeted. Hand and trunk accelerations were digitally recorded utilizing accelerometers and analyzed using polar frequency distributions of the realized acceleration directions and sample entropy of the acceleration time. Acceleration directions were more variably used by the arms than by the torso, particularly so when participants monitored their performance via a mirror. Metronome use hardly affected the predictability of the acceleration time series. The findings underscore the intrinsic limitations that people experience when being asked to move randomly and reveal moderate effects of visual and acoustic constraints on doing so in dance.

Heart Rate Variability Synchronizes When Non-experts Vocalize Together

Singing and chanting are ubiquitous across World cultures. It has been theorized that such practices are an adaptive advantage for humans because they facilitate bonding and cohesion between group members. Investigations into the effects of singing together have so far focused on the physiological effects, such as the synchronization of heart rate variability (HRV), of experienced choir singers. Here, we study whether HRV synchronizes for pairs of non-experts in different vocalizing conditions. Using time-frequency coherence (TFC) analysis, we find that HRV becomes more coupled when people make long (> 10 s) sounds synchronously compared to short sounds (< 1 s) and baseline measurements (p < 0.01). Furthermore, we find that, although most of the effect can be attributed to respiratory sinus arrhythmia, some HRV synchronization persists when the effect of respiration is removed: long notes show higher partial TFC than baseline and breathing (p < 0.05). In addition, we observe that, for most dyads, the frequency of the vocalization onsets matches that of the peaks in the TFC spectra, even though these frequencies are above the typical range of 0.04–0.4 Hz. A clear correspondence between high HRV coupling and the subjective experience of “togetherness" was not found. These results suggest that since autonomic physiological entrainment is observed for non-expert singing, it may be exploited as part of interventions in music therapy or social prescription programs for the general population.

Introduction to the special issue on physics of mind

In recent years, both fields of physics and psychology have made important scientific advances. The emergence of new instruments gave rise to a data-driven neuroscience allowing us to learn about the state of the brain supporting known mental functions and conversely. In parallel, the appearance of new mathematics allowed the development of computational models describing fundamental brain functions and implementing them in technological applications. While emphasizing the methodology of physics, the special issue aims to bring together these trends in both the experimental and theoretical sciences in order to explain some of the most basic mental processes such as perception, cognition, emotion, consciousness, and learning. In this editorial, we define unsolved problems for brain and psychological sciences, discuss possible means toward their respective solutions, and outline some collaborative initiatives aiming toward these goals. The following problems are defined in gradual order of difficulty: what are the universal properties of human behavior across conditions and cultures? What have each culture learned over historical times and why should specific elements of knowledge be accumulated over cultural evolution? Can computational psychiatry help predict, understand, and cure mental disorders? What is the function of art and cultural artifacts such as music, fiction, or poetry for the cognitive system? How to explain the relation between first-person subjective experience and third-person objective physiological data? What neural mechanisms operate on which mental content at the highest levels of organization of the hierarchical brain? How do abstract ideas emerge from sensory-motor contingencies and what are the conditions for the birth of a new concept? Could symmetry play a role in psychogenesis and support the emergence of new hierarchical layers in cognition? How can we start addressing the question of meaning scientifically, and what does it entail for the physical sciences?

Optimizing Performative Skills in Social Interaction: Insights From Embodied Cognition, Music Education, and Sport Psychology

Embodied approaches to cognition conceive of mental life as emerging from the ongoing relationship between neural and extra-neural resources. The latter include, first and foremost, our entire body, but also the activity patterns enacted within a contingent milieu, cultural norms, social factors, and the features of the environment that can be used to enhance our cognitive capacities (e.g., tools, devices, etc.). Recent work in music education and sport psychology has applied general principles of embodiment to a number of social contexts relevant to their respective fields. In particular, both disciplines have contributed fascinating perspectives to our understanding of how skills are acquired and developed in groups; how musicians, athletes, teachers, and coaches experience their interactions; and how empathy and social action participate in shaping effective performance. In this paper, we aim to provide additional grounding for this research by comparing and further developing original themes emerging from this cross-disciplinary literature and empirical works on how performative skills are acquired and optimized. In doing so, our discussion will focus on: (1) the feeling of being together, as meaningfully enacted in collective musical and sport events; (2) the capacity to skillfully adapt to the contextual demands arising from the social environment; and (3) the development of distributed forms of bodily memory. These categories will be discussed from the perspective of embodied cognitive science and with regard to their relevance for music education and sport psychology. It is argued that because they play a key role in the acquisition and development of relevant skills, they can offer important tools to help teachers and coaches develop novel strategies to enhance learning and foster new conceptual and practical research in the domains of music and sport.

The Body Speaks: Using the Mirror Game to Link Attachment and Non-verbal Behavior

The Mirror Game (MG) is a common exercise in dance/movement therapy and drama therapy. It is used to promote participants' ability to enter and remain in a state of togetherness. In spite of the wide use of the MG by practitioners, it is only recently that scientists begun to use the MG in research, examining its correlates, validity, and reliability. This study joins this effort by reporting on the identification of scale items to describe the non-verbal behavior expressed during the MG and its correlation to measures of attachment. Thus, we explored the application of the MG as a tool for assessing the embodiment of attachment in adulthood. Forty-eight participants (22 females, mean age = 33.2) played the MG with the same gender-matched expert players. All MG were videotaped. In addition, participants were evaluated on two central measurements of attachment in adulthood: The Adult Attachment Interview (AAI) and the Experience in Close Relationship questionnaire (ECR). To analyze the data, we developed the "MG scale" that coded the non-verbal behavior during the movement interaction, using 19 parameters. The sub-scales were reduced using factor analysis into two dimensions referred to as "together" and "free." The free factor was significantly correlated to both measurements of attachment: Participants classified as having secure attachment on the AAI, received higher scores on the MG free factor than participants classified as insecure [t(46) = 7.858, p = 0.000]. Participants, who were high on the avoidance dimension on the ECR, were low on the MG free factor [r(48) = -0.285, p = 0.007]. This is the first study to examine the MG as it is used by practitioners and its correlation to highly standardized measures. This exploratory study may be considered as part of the first steps of exploring the MG as a standardized assessment tool. The advantages of the MG as a simple, non-verbal movement interaction demonstrate some of the strengths of dance/movement and drama therapy practice.