Ritualized behavior, intuitively recognizable by its stereotypy, rigidity, repetition, and apparent lack of rational motivation, is found in a variety of life conditions, customs, and everyday practices: in cultural rituals, whether religious or non-religious; in many children's complicated routines; in the pathology of obsessive-compulsive disorders (OCD); in normal adults around certain stages of the life-cycle, birthing in particular. Combining evidence from evolutionary anthropology, neuropsychology and neuroimaging, we propose an explanation of ritualized behavior in terms of an evolved Precaution System geared (...) to the detection of and reaction to inferred threats to fitness. This system, distinct from fear-systems geared to respond to manifest danger, includes a repertoire of clues for potential danger as well as a repertoire of species-typical precautions. In OCD pathology, this system does not supply a negative feedback to the appraisal of potential threats, resulting in doubts about the proper performance of precautions, and repetition of action. Also, anxiety levels focus the attention on low-level gestural units of behavior rather than on the goal-related higher-level units normally used in parsing the action-flow. Normally automatized actions are submitted to cognitive control. This “swamps” working memory, an effect of which is a temporary relief from intrusions but also their long-term strengthening. Normal activation of this Precaution System explains intrusions and ritual behaviors in normal adults. Gradual calibration of the system occurs through childhood rituals. Cultural mimicry of this system's normal input makes cultural rituals attention-grabbing and compelling. A number of empirical predictions follow from this synthetic model. (Published Online February 8 2007) Key Words: childhood ritual; compulsion; event boundaries; evolutionary psychology; obsessive-compulsive disorder; ritual; thought intrusion. (shrink)

Ever since I first saw a dance performance I have wondered why it is that I am sometimes fascinated and touched by some people moving about on a stage, while at other times it leaves me completely indifferent. I will argue that an answer to this question has to be searched for in the way sensory stimuli are processed in the brain. After all, all our actions, perceptions and feelings are mediated and controlled by the brain. The thoughts and feelings (...) evoked by a dance performance are no exception and thus they too have a neural substrate in the brain. (shrink)

Since the 1980s consensus opinion is that the mind is like a collection of specialised modules each tasked for a specific purpose. The author seeks to elucidate and account for this theory and explain what it means to be human in this context.

The work of the artist and the science of vision may seem distantly related as subjects.

The field of neuroaesthetics attempts to identify the brain processes underlying aesthetic experience, including but not limited to beauty. Previous neuroaesthetic studies have focussed largely on paintings and music, while performing arts such as dance have been less studied. Nevertheless, increasing knowledge of the neural mechanisms that represent the bodies and actions of others, and which contribute to empathy, make a neuroaesthetics of dance timely. Here, we present the first neuroscientific study of aesthetic perception in the context of the performing (...) arts. We investigated brain areas whose activity during passive viewing of dance stimuli was related to later, independent aesthetic evaluation of the same stimuli. Brain activity of six naïve male subjects was measured using fMRI, while they watched 24 dance movements, and performed an irrelevant task. In a later session, participants rated each movement along a set of established aesthetic dimensions. The ratings were used to identify brain regions that were more active when viewing moves that received high average ratings than moves that received low average ratings. This contrast revealed bilateral activity in the occipital cortices and in right premotor cortex. Our results suggest a possible role of visual and sensorimotor brain areas in an automatic aesthetic response to dance. This sensorimotor response may explain why dance is widely appreciated in so many human cultures. (shrink)

Indeterminate art invokes a perceptual dilemma in which apparently detailed and vivid images resist identification. We used event-related fMRI to study visual perception of representational, indeterminate and abstract paintings. We hypothesized increased activation along a gradient of posterior-to-anterior ventral visual areas with increased object resolution, and postulated that object resolution would be associated with visual imagery. Behaviorally, subjects were faster to recognize familiar objects in representational than in both indeterminate and abstract paintings. We found activation within a distributed cortical network (...) that includes visual, parietal, limbic and prefrontal regions. Representational paintings, which depict scenes cluttered with familiar objects, evoked stronger activation than indeterminate and abstract paintings in higher-tier visual areas. Perception of scrambled paintings was associated with imagery-related activation in the precuneus and prefrontal cortex. Finally, representational paintings evoked stronger activation than indeterminate paintings in the temporoparietal junction. Our results suggest that perception of familiar content in art works is mediated by object recognition, memory recall and mental imagery, cognitive processes that evoke activation within a distributed cortical network. (shrink)

Humans, being highly social creatures, rely heavily on the ability to perceive what others are doing and to infer from gestures and expressions what others may be intending to do. These perceptual skills are easily mastered by most, but not all, people, in large part because human action readily communicates intentions and feelings. In recent years, remarkable advances have been made in our understanding of the visual, motoric, and affective influences on perception of human action, as well as in the (...) elucidation of the neural concomitants of perception of human action. This article reviews those advances and, where possible, draws links among those findings.Acronyms and DefinitionsApparent motion: perception of smooth motion from brief, successive exposures of static imagesChameleon effect: tendency for people to mimic the actions of others without even knowing itCommon coding principle: theory that perceiving and acting share common mental representationsDynamic noise: an array of randomly positioned dots that can camouflage perception of PL animations when the noise dots are sufficiently denseEvent-related potential : electrical brain activity registered from the scalpExtrastriate body area : brain region activated when a person views a human body or body partsFunctional magnetic resonance imaging : widely used technique that reveals brain activation patterns based on hemodynamic responses to neural activityInversion effect: difficulty of perceiving PL animations when they are shown upside downKinematics: analysis of the motions of objects without regard to the forces producing themMirror neurons: brain cells responsive when an animal engages in an activity or when it watches another animal engaged in that activityPoint-light animations: biological activity portrayed by small light tokens placed on the major body parts of an actorPositron emission tomography : brain imaging technique that uses radioactively labeled tracers to allow visualization of active brain areasSpatiotemporal jitter: means of degrading perception of PL animations, where the relative timing and positions of the moving dots are perturbedSuperior temporal sulcus : region of the cortex the posterior portion of which contains neurons selectively responsive to human activityTemplate-matching model: theory that perception of biological motion results from concatenation of static views of the bodyTranscranial magnetic stimulation : technique producing a brief disruption of neural processing. (shrink)