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People differ in their responsiveness to aesthetic experiences. It is important to understand the role of culture in such individual differences, yet existing tools for assessing aesthetic responsiveness largely focus on North American and European cultures. We created a Farsi translated and culturally adapted version of the Aesthetic Responsiveness Assessment (AReA) and evaluated its psychometric properties. Construct validity and internal consistency were evaluated in a sample of 1,586 participants. Moreover, convergent and discriminant validity were investigated using the Behavioral Avoidance/Inhibition Scales (BIS-BAS), Big Five Inventory-2, Barcelona Music Reward Questionnaire (BMRQ), and the Temporal Experience of Pleasure Scale (TEPS). Further, the test–retest reliability of AReA was examined for the first time in a subsample of participants (n = 160) who answered the questionnaire again after 6 months. In addition to an acceptable structural validity (comparative fit index, CFI =.905), the Farsi version of AReA showed good internal consistency. Cronbach's α for the overall score was.848 and varied between.64 and.81 for subscales. Concerning convergent and discriminant validity, AReA subscales were positively correlated with subscales of TEPS, the Emotion Evocation subscale of BMRQ, Behavioral Avoidance, and Openness, and were unrelated to Behavioral Inhibition, Conscientiousness, and Negative Emotionality. Moreover, AReA subscales showed different patterns of correlations with other questionnaires. Finally, all subscales of AReA showed high test–retest reliability, ranging from.715 to.778. Our results confirm the validity of the Farsi version of AReA and provide a new measure of aesthetic responsiveness, useful in Farsi-speaking communities, which facilitates cross-cultural research in empirical aesthetics. [ABSTRACT FROM AUTHOR]

The present study shows how motor expertise increases individuals' sensitivity to others' affective body movement. This enhanced sensitivity is evident in the experts' behavior and physiology. Nineteen affective movement experts (professional ballet dancers) and 24 controls watched 96 video clips of emotionally expressive body movements while they performed an affect rating task (subjective response), and their galvanic skin response was recorded (physiological response). The movements in the clips were either sad or happy, and in half of the trials, movements were played in the order in which they are learned (forward presentation), and in the other half, movements were played backward (control condition). Results showed that motor expertise in affective body movement specifically modulated both behavioral and physiological sensitivity to others' affective body movement, and that this sensitivity is particularly strong when movements are shown in the way they are learnt (forward presentation). The evidence is discussed within current theories of proprioceptive arousal feedback and motor simulation accounts. [ABSTRACT FROM AUTHOR]

The purpose of this article is to highlight the possibilities that research on dance appreciation offers empirical aesthetics, as well as the challenges such research poses. Behavioral and neuroimaging approaches have, to date, mainly focused on the perception and recognition of human body movement and structure. A small number of studies, nonetheless, have explicitly taken the basic research on the perceptual, emotional, and cognitive processes engaged during movement observation, together with their neural concomitants, as a starting point to understand the aesthetic experience triggered by the observation of a dance. We provide an overview of these studies and point out avenues for future research on dance appreciation within the scope of empirical aesthetics. We also note some methodological and conceptual issues that should be taken into account in the design of empirical studies of the aesthetic appreciation of dance, including dance theory scholarship and humanistic approaches to dance practice. Finally, we describe how common movement features of dance styles around the world suggest that humans may be endowed with an evolved cognitive ability to appreciate and to be aesthetically moved by dance. [ABSTRACT FROM AUTHOR]

The article discusses the highlights of the conference "The Neurosciences and Music IV--Learning and Memory," organized by the Mariani Foundation and held on June 9 to 12, 2011. The event was designed to disseminate knowledge on research related to neurobiology, physiology, psychology and neuropsychology as applied to music. It tackled various topics such as music perception, music production and the effects of musical training on the brain, among others.

Creativity research commonly involves recruiting human raters to judge the originality of responses to divergent thinking tasks, such as the alternate uses task (AUT). These manual scoring practices have benefited the field, but they also have limitations, including labor-intensiveness and subjectivity, which can adversely impact the reliability and validity of assessments. To address these challenges, researchers are increasingly employing automatic scoring approaches, such as distributional models of semantic distance. However, semantic distance has primarily been studied in English-speaking samples, with very little research in the many other languages of the world. In a multilab study (N = 6,522 participants), we aimed to validate semantic distance on the AUT in 12 languages: Arabic, Chinese, Dutch, English, Farsi, French, German, Hebrew, Italian, Polish, Russian, and Spanish. We gathered AUT responses and human creativity ratings (N = 107,672 responses), as well as criterion measures for validation (e.g., creative achievement). We compared two deep learning-based semantic models—multilingual bidirectional encoder representations from transformers and cross-lingual language model RoBERTa—to compute semantic distance and validate this automated metric with human ratings and criterion measures. We found that the top-performing model for each language correlated positively with human creativity ratings, with correlations ranging from medium to large across languages. Regarding criterion validity, semantic distance showed small-to-moderate effect sizes (comparable to human ratings) for openness, creative behavior/achievement, and creative self-concept. We provide open access to our multilingual dataset for future algorithmic development, along with Python code to compute semantic distance in 12 languages. [ABSTRACT FROM AUTHOR]

Quattrocki and Friston (2014) argued that abnormalities in interoception-the process of representing one's internal physiological states-could lie at the heart of autism, because of the critical role interoception plays in the ontogeny of social-affective processes. This proposal drew criticism from proponents of the alexithymia hypothesis, who argue that social-affective and underlying interoceptive impairments are not a feature of autism per se, but of alexithymia (a condition characterized by difficulties describing and identifying one's own emotions), which commonly co-occurs with autism. Despite the importance of this debate for our understanding of autism spectrum disorder (ASD), and of the role of interoceptive impairments in psychopathology, more generally, direct empirical evidence is scarce and inconsistent. Experiment 1 examined in a sample of 137 neurotypical (NT) individuals the association among autistic traits, alexithymia, and interoceptive accuracy (IA) on a standard heartbeat-tracking measure of IA. In Experiment 2, IA was assessed in 46 adults with ASD (27 of whom had clinically significant alexithymia) and 48 NT adults. Experiment 1 confirmed strong associations between autistic traits and alexithymia, but yielded no evidence to suggest that either was associated with interoceptive difficulties. Similarly, Experiment 2 provided no evidence for interoceptive impairments in autistic adults, irrespective of any co-occurring alexithymia. Bayesian analyses consistently supported the null hypothesis. The observations pose a significant challenge to notions that interoceptive impairments constitute a core feature of either ASD or alexithymia, at least as far as the direct perception of interoceptive signals is concerned. (PsycINFO Database Record [ABSTRACT FROM AUTHOR]