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What We Can Learn from Parkinson's Disease

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What We Can Learn from Parkinson's Disease Movement in Aesthetic Experiences: What We Can Learn from Parkinson’s Disease Stacey Humphries , Jacqueline Rick, Daniel Weintraub, and Anjan Chatterjee Abstract ■ Visual art offers cognitive neuroscience an opportunity to preferences for abstract art, but their perception of movement in Downloaded from http://direct.mit.edu/jocn/article-pdf/doi/10.1162/jocn_a_01718/1900731/jocn_a_01718.pdf by guest on 07 April 2021 study how subjective value is constructed from representations the paintings was significantly lower than controls in both condi- supported by multiple neural systems. A surprising finding in aes- tions. The patients also demonstrated enhanced preferences for thetic judgment research is the functional activation of motor high-motion art and an altered relationship between motion and areas in response to static, abstract stimuli, like paintings, which aesthetic appreciation. Our results do not accord well with a has been hypothesized to reflect embodied simulations of artists’ straightforward embodied simulation account of aesthetic expe- painting movements, or preparatory approach–avoidance re- riences, because artworks that did not include visual traces of the sponses to liked and disliked artworks. However, whether this artist’s actions were still experienced as lower in motion by motor involvement functionally contributes to aesthetic appreci- Parkinson’s patients. We suggest that the motor system may be ation has not been addressed. Here, we examined the aesthetic involved in integrating low-level visual features to form abstract experiences of patients with motor dysfunction. Forty-three representations of movement rather than simulations of specific people with Parkinson’s disease and 40 controls made motion bodily actions. Overall, we find support for hypotheses linking and aesthetics judgments of high-motion Jackson Pollock motor responses and aesthetic appreciation and show that paintings and low-motion Piet Mondrian paintings. People with altered neural functioning changes the way art is perceived and Parkinson’s disease demonstrated stable and internally consistent valued. ■ INTRODUCTION of other processing is not well understood. To address Visual art offers cognitive neuroscience an opportunity to this question, we examined whether motor system dys- study how subjective value is constructed from interac- function alters the aesthetic experiences of patients with tions between multiple neural systems. Experiments in Parkinson’s disease. Our study addresses the question of neuroaesthetics suggest that aesthetic experiences motor involvement in aesthetic valuation generally, as engage separable neural systems that represent percep- well as in Parkinson’s disease specifically. tual and motor information, emotion and value, and se- Both visual motion and motor responses to art have mantic knowledge; a model known as the aesthetic triad been reported. Studies reporting the former typically used (Chatterjee & Vartanian, 2014). Whereas most experi- as stimuli artworks that depicted figures or objects in states ments have studied static works of art such as paintings, of implied motion. Activation of visual motion area MT+ functional activation of motor areas of the brain has often was found in response to implied motion in van Gogh been found, particularly in response to paintings experi- paintings (Thakral, Moo, & Slotnick, 2012), Hokusai enced as especially “dynamic.” Several hypotheses about Manga (Osaka, Matsuyoshi, Ikeda, & Osaka, 2010), and the nature of this motor activity have been proposed. the dynamic works of Futurism and Cubism (Kim & Some have argued for an embodied simulation account Blake, 2007). Some studies reporting motor cortex re- of aesthetic experience, according to which observers sponses to visual art also used representational paintings simulate the movements and experiences of the paint- as stimuli. Corticomotor excitability of an arm muscle was ing’s subject or its artist (Freedberg & Gallese, 2007), increased when observers viewed a posture involving that whereas others have suggested that motor activity might muscle in Michaelangelo’s Expulsion from Paradise, but reflect preparatory approach–avoidance responses to notwhentheviewingthesamemuscleatrestinother liked and disliked artworks (Ishizu & Zeki, 2011; paintings (Battaglia, Lisanby, & Freedberg, 2011). In a study Kawabata & Zeki, 2004). However, the extent to which using similar stimuli, connectivity between dorsal premo- motor involvement functionally contributes to aesthetic tor cortex and primary motor cortex was increased when appreciation or is merely an epiphenomenal byproduct viewing a painting with implied action postures compared to one with static, resting postures (Concerto et al., 2016). Although interesting, these results are not specific to University of Pennsylvania, PA aesthetics or visual art perception. They replicate earlier © 2021 Massachusetts Institute of Technology Journal of Cognitive Neuroscience X:Y, pp. 1–14 https://doi.org/10.1162/jocn_a_01718 findings from cognitive neuroscience regarding the neural responses showed that, in addition to greater motor bases of action observation and visual motion perception. activity, paintings with implied movement were associated The finding that area MT+ is responsive to implied motion with higher motion and liking ratings relative to control in static images was first reported in studies using nonart images (Sbriscia-Fioretti et al., 2013; Umiltà et al., 2012), images of bodies and objects with implied motion (Kable, but did not explicitly show a relationship between motion Kan, Wilson, Thompson-Schill, & Chatterjee, 2005; Kable, and appreciation. The control stimuli used in these studies Lease-Spellmeyer, & Chatterjee, 2002; Kourtzi & were nonart images, and the paintings may have been Kanwisher, 2000; Senior et al., 2000). Similarly, premotor liked more because of their status as art objects rather and primary motor cortex were shown to respond to static than their movement content. images of human actions (Proverbio, Riva, & Zani, 2009; Other works linking motion to aesthetic appreciation Urgesi, Moro, Candidi, & Aglioti, 2006). provide conflicting evidence on whether this association A separate line of research suggests that observers are is positive or negative. Mastandrea and Umiltà (2016) sensitive to the movement information carried in visible found a positive correlation between the amount of per- Downloaded from http://direct.mit.edu/jocn/article-pdf/doi/10.1162/jocn_a_01718/1900731/jocn_a_01718.pdf by guest on 07 April 2021 brushstrokes in paintings. Features of an artist’soriginal ceived motion in a painting and aesthetic appreciation. movement, such as trajectory and force, may be preserved Thakral et al. (2012) showed that greater MT+ responses in the gestural quality of their brushstrokes, and observers to high motion paintings were greater still when the perhaps simulate the parent action from the information painting was liked. The most direct evidence of a relation- contained in its trace (Freedberg & Gallese, 2007). In one ship between motor representations and aesthetic appre- study, participants made faster arm movements when the ciation comes from Leder, Bär, and Topolinski (2012) and direction of their movement was compatible with the Ticini, Rachman, Pelletier, and Dubal (2014), both of direction of task-irrelevant brushstrokes (Taylor, Witt, & which trained participants to make pointillist and stroke Grimaldi, 2012). In an electroencephalography, greater style movements with a paintbrush. In Ticini et al. mu rhythm suppression was evoked by Lucio Fontana’s (2014), liking of pointillist paintings was subsequently en- slashed canvases compared to control stimuli, which hanced when the paintings were primed with congruent contained similar shapes to the originals but lacked the images of appropriate hand grips for making pointillist depth information suggestive of Fontana’s cutting actions movements. In Leder et al. (2012), participants who made (Umiltà, Berchio, Sestito, Freedberg, & Gallese, 2012). pointillist movements while viewing artworks gave higher Similarly, greater activity in motor cortical areas was found liking to point-style relative to stroke-style art, whereas the when observers viewed Franz Kline’s gestural paintings opposite pattern was found for participants who made compared to control images in which the movement infor- stroke movements while viewing artworks. In addition, a mation was removed (Sbriscia-Fioretti, Berchio, Freedberg, recent facial feedback study found that when participants Gallese, & Umiltà, 2013). Importantly, the paintings used as were asked to overtly frown, they gave higher aesthetic stimuli in these studies were abstract and did not contain ratings to artworks depicting painful facial expressions any representational depictions of action or implied mo- than when they kept their face muscles relaxed (Ardizzi tion. Thus, observers are thought to be responsive to visual et al., 2020). Finally, in a nonart but nevertheless aesthetic cues in the way the paint was applied (or the canvas was context, it was found that people have unconscious motor cut) that imply intentional movements of the artist. approach responses toward incidental beautiful faces However, the fact that motor information can be inferred (Faust, Chatterjee, & Christopoulos, 2019). from the results or traces of movements is, again, not spe- In contrast, other studies suggest a complicated rela- cific to aesthetics. For example,
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