Louise Kirsch - Academia.edu (original) (raw)
Papers by Louise Kirsch
Social touch deprivation during COVID-19: effects on psychological wellbeing, tolerating isolation and craving interpersonal touch. PsyArXiv, 2021
Social touch has positive effects on social affiliation and stress alleviation. However, its ubiq... more Social touch has positive effects on social affiliation and stress alleviation. However, its ubiquitous presence in human life does not allow the study of social touch deprivation ‘in the wild’. Nevertheless, COVID-19-related restrictions such as social distancing allowed the systematic study of the degree to which social distancing affects tactile experiences and mental health. In this study, 1746 participants completed an online-survey to examine intimate, friendly and professional touch experiences during COVID-19-related restrictions, their impact on mental health and the extent to which touch deprivation results in craving touch. We found that intimate touch deprivation during COVID-19-related restrictions is associated with worse psychological wellbeing, even though this type of touch is still the most experienced during the pandemic. Moreover, intimate touch is reported as the type of touch most craved during this period, thus being more prominent as the days practicing socia...
Frontiers in human neuroscience, Jan 1, 2011
Neuroscience & Biobehavioral Reviews, 2016
Less than two decades after its inception, the burgeoning field of neuroaesthetics continues to g... more Less than two decades after its inception, the burgeoning field of neuroaesthetics continues to grow in interest and momentum. Despite the biological and social importance of the human body and the attention people pay to its appearance in daily life, only recently has neuroaesthetic inquiry turned its attention to questions concerning the aesthetic appraisal of the human body. We review evidence illustrating that the complexity of aesthetic experience is reflected by dynamic interplay between brain systems involved in reward, perceptual and motor processing, with a focus on aesthetic perception involving the human body. We then evaluate work demonstrating how these systems are modulated by beholders' expertise or familiarity. Finally, we discuss seminal studies revealing the plasticity of behavioural and neural responses to beauty after perceptual and motor training. This research highlights the rich potential for neuroaesthetic inquiry to extend beyond its typical realm of the fine arts to address important questions regarding the relationship between embodiment, aesthetics and performing arts. We conclude by considering some of the criticisms and limitations of neuroaesthetics, and highlight several outstanding issues for future inquiry.
Cerebral Cortex, 2015
The way in which we perceive others in action is biased by one's prior experience... more The way in which we perceive others in action is biased by one's prior experience with an observed action. For example, we can have auditory, visual, or motor experience with actions we observe others perform. How action experience via 1, 2, or all 3 of these modalities shapes action perception remains unclear. Here, we combine pre- and post-training functional magnetic resonance imaging measures with a dance training manipulation to address how building experience (from auditory to audiovisual to audiovisual plus motor) with a complex action shapes subsequent action perception. Results indicate that layering experience across these 3 modalities activates a number of sensorimotor cortical regions associated with the action observation network (AON) in such a way that the more modalities through which one experiences an action, the greater the response is within these AON regions during action perception. Moreover, a correlation between left premotor activity and participants' scores for reproducing an action suggests that the better an observer can perform an observed action, the stronger the neural response is. The findings suggest that the number of modalities through which an observer experiences an action impacts AON activity additively, and that premotor cortical activity might serve as an index of embodiment during action observation.
Annals of the New York Academy of Sciences, 2015
Previous research on aesthetic preferences demonstrates that people are more likely to judge a st... more Previous research on aesthetic preferences demonstrates that people are more likely to judge a stimulus as pleasing if it is familiar. Although general familiarity and liking are related, it is less clear how motor familiarity, or embodiment, relates to a viewer's aesthetic appraisal. This study directly compared how learning to embody an action impacts the neural response when watching and aesthetically evaluating the same action. Twenty-two participants trained for 4 days on dance sequences. Each day they physically rehearsed one set of sequences, passively watched a second set, listened to the music of a third set, and a fourth set remained untrained. Functional MRI was obtained prior to and immediately following the training period, as were affective and physical ability ratings for each dance sequence. This approach enabled precise comparison of self-report methods of embodiment with nonbiased, empirical measures of action performance. Results suggest that after experience,...
Journal of Neuroscience, 2010
Frontiers in human neuroscience, 2011
The field of neuroaesthetics attracts attention from neuroscientists and artists interested in th... more The field of neuroaesthetics attracts attention from neuroscientists and artists interested in the neural underpinnings of esthetic experience. Though 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 physical...
Experimental Brain Research, 2013
Past research demonstrates that we are more likely to positively evaluate a stimulus if we have h... more Past research demonstrates that we are more likely to positively evaluate a stimulus if we have had previous experience with that stimulus. This has been shown for judgment of faces, architecture, artworks and body movements. In contrast, other evidence suggests that this relationship can also work in the inverse direction, at least in the domain of watching dance. Specifically, it has been shown that in certain contexts, people derive greater pleasure from watching unfamiliar movements they would not be able to physically reproduce compared to simpler, familiar actions they could physically reproduce. It remains unknown, however, how different kinds of experience with complex actions, such as dance, might change observers' affective judgments of these movements. Our aim was to clarify the relationship between experience and affective evaluation of whole body movements. In a between-subjects design, participants received either physical dance training with a video game system, visual and auditory experience or auditory experience only. Participants' aesthetic preferences for dance stimuli were measured before and after the training sessions. Results show that participants from the physical training group not only improved their physical performance of the dance sequences, but also reported higher enjoyment and interest in the stimuli after training. This suggests that physically learning particular movements leads to greater enjoyment while observing them. These effects are not simply due to increased familiarity with audio or visual elements of the stimuli, as the other two training groups showed no increase in aesthetic ratings post-training. We suggest these results support an embodied simulation account of aesthetics, and discuss how the present findings contribute to a better understanding of the shaping of preferences by sensorimotor experience.
Social touch deprivation during COVID-19: effects on psychological wellbeing, tolerating isolation and craving interpersonal touch. PsyArXiv, 2021
Social touch has positive effects on social affiliation and stress alleviation. However, its ubiq... more Social touch has positive effects on social affiliation and stress alleviation. However, its ubiquitous presence in human life does not allow the study of social touch deprivation ‘in the wild’. Nevertheless, COVID-19-related restrictions such as social distancing allowed the systematic study of the degree to which social distancing affects tactile experiences and mental health. In this study, 1746 participants completed an online-survey to examine intimate, friendly and professional touch experiences during COVID-19-related restrictions, their impact on mental health and the extent to which touch deprivation results in craving touch. We found that intimate touch deprivation during COVID-19-related restrictions is associated with worse psychological wellbeing, even though this type of touch is still the most experienced during the pandemic. Moreover, intimate touch is reported as the type of touch most craved during this period, thus being more prominent as the days practicing socia...
Frontiers in human neuroscience, Jan 1, 2011
Neuroscience & Biobehavioral Reviews, 2016
Less than two decades after its inception, the burgeoning field of neuroaesthetics continues to g... more Less than two decades after its inception, the burgeoning field of neuroaesthetics continues to grow in interest and momentum. Despite the biological and social importance of the human body and the attention people pay to its appearance in daily life, only recently has neuroaesthetic inquiry turned its attention to questions concerning the aesthetic appraisal of the human body. We review evidence illustrating that the complexity of aesthetic experience is reflected by dynamic interplay between brain systems involved in reward, perceptual and motor processing, with a focus on aesthetic perception involving the human body. We then evaluate work demonstrating how these systems are modulated by beholders' expertise or familiarity. Finally, we discuss seminal studies revealing the plasticity of behavioural and neural responses to beauty after perceptual and motor training. This research highlights the rich potential for neuroaesthetic inquiry to extend beyond its typical realm of the fine arts to address important questions regarding the relationship between embodiment, aesthetics and performing arts. We conclude by considering some of the criticisms and limitations of neuroaesthetics, and highlight several outstanding issues for future inquiry.
Cerebral Cortex, 2015
The way in which we perceive others in action is biased by one's prior experience... more The way in which we perceive others in action is biased by one's prior experience with an observed action. For example, we can have auditory, visual, or motor experience with actions we observe others perform. How action experience via 1, 2, or all 3 of these modalities shapes action perception remains unclear. Here, we combine pre- and post-training functional magnetic resonance imaging measures with a dance training manipulation to address how building experience (from auditory to audiovisual to audiovisual plus motor) with a complex action shapes subsequent action perception. Results indicate that layering experience across these 3 modalities activates a number of sensorimotor cortical regions associated with the action observation network (AON) in such a way that the more modalities through which one experiences an action, the greater the response is within these AON regions during action perception. Moreover, a correlation between left premotor activity and participants' scores for reproducing an action suggests that the better an observer can perform an observed action, the stronger the neural response is. The findings suggest that the number of modalities through which an observer experiences an action impacts AON activity additively, and that premotor cortical activity might serve as an index of embodiment during action observation.
Annals of the New York Academy of Sciences, 2015
Previous research on aesthetic preferences demonstrates that people are more likely to judge a st... more Previous research on aesthetic preferences demonstrates that people are more likely to judge a stimulus as pleasing if it is familiar. Although general familiarity and liking are related, it is less clear how motor familiarity, or embodiment, relates to a viewer's aesthetic appraisal. This study directly compared how learning to embody an action impacts the neural response when watching and aesthetically evaluating the same action. Twenty-two participants trained for 4 days on dance sequences. Each day they physically rehearsed one set of sequences, passively watched a second set, listened to the music of a third set, and a fourth set remained untrained. Functional MRI was obtained prior to and immediately following the training period, as were affective and physical ability ratings for each dance sequence. This approach enabled precise comparison of self-report methods of embodiment with nonbiased, empirical measures of action performance. Results suggest that after experience,...
Journal of Neuroscience, 2010
Frontiers in human neuroscience, 2011
The field of neuroaesthetics attracts attention from neuroscientists and artists interested in th... more The field of neuroaesthetics attracts attention from neuroscientists and artists interested in the neural underpinnings of esthetic experience. Though 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 physical...
Experimental Brain Research, 2013
Past research demonstrates that we are more likely to positively evaluate a stimulus if we have h... more Past research demonstrates that we are more likely to positively evaluate a stimulus if we have had previous experience with that stimulus. This has been shown for judgment of faces, architecture, artworks and body movements. In contrast, other evidence suggests that this relationship can also work in the inverse direction, at least in the domain of watching dance. Specifically, it has been shown that in certain contexts, people derive greater pleasure from watching unfamiliar movements they would not be able to physically reproduce compared to simpler, familiar actions they could physically reproduce. It remains unknown, however, how different kinds of experience with complex actions, such as dance, might change observers' affective judgments of these movements. Our aim was to clarify the relationship between experience and affective evaluation of whole body movements. In a between-subjects design, participants received either physical dance training with a video game system, visual and auditory experience or auditory experience only. Participants' aesthetic preferences for dance stimuli were measured before and after the training sessions. Results show that participants from the physical training group not only improved their physical performance of the dance sequences, but also reported higher enjoyment and interest in the stimuli after training. This suggests that physically learning particular movements leads to greater enjoyment while observing them. These effects are not simply due to increased familiarity with audio or visual elements of the stimuli, as the other two training groups showed no increase in aesthetic ratings post-training. We suggest these results support an embodied simulation account of aesthetics, and discuss how the present findings contribute to a better understanding of the shaping of preferences by sensorimotor experience.