TAILIEUCHUNG - The impact of aesthetic evaluation and physical ability on dance perception

Question D is answered positively, because there is a clear correlation between the ability to manage the procedure and achieve a clear articulation of forms. By comparison, there were students who tried formgiving by selected design parameter only and some students who were able to determine the main impact only. The answer to which of Baumgarten’s aesthetic considerations were applied involves only the 6 considerations which the students have worked with in connection with the earlier mentioned evaluations. Consideration number one was given preference in 2009 by exercises in the use of form elements which involve creation of a model. | ORIGINAL RESEARCH ARTICLE published 21 September 2011 doi HUMAN NEUROSCIENCE The impact of aesthetic evaluation and physical ability on dance perception Emily S. Cross1 2 3 Louise Kirsch1 Luca 4 and Simone Schutz-Bosbach1 1 Junior Research Group Body and Self Max Planck Institute for Human Cognitive and Brain Sciences Leipzig Germany 2 Behavioural Science Institute Donders Institute for Brain Cognition and Behaviour Radboud University Nijmegen Netherlands 3 School of Psychology Bangor University Wales UK 4 Italian Society of Neuroaesthetics Semir Zeki Trieste Italy Edited by Idan Segev The Hebrew University of Jerusalem Israel Reviewed by Marcel Brass Ghent University Belgium Tamer Demiralp Istanbul University Turkey Correspondence Emily S. Cross School of Psychology Adeilad Brigantia Bangor University Bangor Wales LL57 2AS UK. e-mail The field of neuroaesthetics attracts attention from neuroscientists and artists interested in the neural underpinnings of esthetic 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 .

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