IntroductionThis study explores how drone movements and human bodily gestures influence spectators’ perceptions, focusing on physical and emotional involvement, aesthetic appreciation, and time perception.MethodsInspired by the iconic staircase scene from the Soviet film The Cranes Are Flying (1957), a set of 81 naturalistic video stimuli was created using a drone-mounted camera, varying in Drone Movement (Ascending, Descending, Still), Human Presence (Female, Male, None), and Image Speed (Normal, Low, Very Slow). Participants evaluated each video based on Liking, Perceived Movement, Physical Involvement, Emotional Involvement and Perceived Duration.Results and discussionResults showed that ascending movements elicited the highest levels of perceived movement, aesthetic appreciation and emotional engagement, outperforming descending and still movements. These results could be explained by a stronger sense of effort and exertion associated with ascending movements, aligning with the embodied simulation of upward motion against gravity. Human presence significantly enhanced ratings across all metrics compared to videos without human figures, thus suggesting that bodily movements play a crucial role in evoking stronger viewer involvement. Additionally, the Female condition received higher aesthetic ratings. Notably, normal image speed yielded greater perceived movement and physical involvement than slowed footage, highlighting a stronger connection to the natural rhythm of bodies in motion. Furthermore, ascending and descending conditions were perceived as lasting longer than still, corroborating prior research on time perception distortions with dynamic stimuli. Correlation analysis highlighted a strong link between physical involvement, emotional engagement, and aesthetic appreciation, underscoring the interplay between bodily and emotional responses. This study emphasizes the potential of drone-based cinematography to evoke embodied and emotional responses, reinforcing the role of embodied simulation theory in cinematic experiences.

Embodied music cognition predicts that our understanding of human-made sounds relates to our experience of making the same or similar movements and sounds, which involves imitation of the source of visual and auditory information. This embodiment of sound may lead to numerous kinetic cross-modal correspondences (CMCs). This article investigates music experience in participants with a non-professionally trained music background across three musical dimensions: Contour (Ascending, Descending, Flat), Vertical Density (Low, Medium, High), and Note Pattern (Binary, Ternary, Quaternary). In order that stimuli should reflect contemporary musical usage yet be subject to a high degree of experimental control, 27 ten-second digital piano tracks were created in collaboration with a film composer. In Study 1, participants were asked to rate the stimuli for perceived Direction, Rotation, Movement, and Emotional and Physical Involvement. We test the effects of these factors in terms of the following theories: general and vocal embodied responses to music, the Ecological Theory of Rotating Sounds, and the Shared Affective Motion Experience model of emotion induction. Results for Study 1 were consistent with theories of general and vocal embodied responses to music, as well as with theories of embodied emotional contagion in music. Study 1 also revealed potential confounds in the stimuli, which were further investigated in Study 2 with a new set of participants rating the stimuli for perceived Pitch, Loudness, and Speed. Results for Study 2 served to dissociate intrinsic features of the stimuli from CMCs. Taken together, the two studies reveal a range of embodied CMCs. Although there are limitations to a perceptual study such as this, these stimuli stand to benefit future research in further investigating the embodiment of musical motion.

In this article, a neurohumanistic, “third culture” approach to “gesture” is delineated. Grounded in an exegesis of Eisenstein’s sensorimotor theory and extending to both contemporary and historical thinkers, a “constellation” of the notion of both visual and musical gestures is triangulated and operationalized into empirical research. An overlap between Eisenstein’s model of audio/visual gestures and the contemporary frameworks of embodied simulation theory and embodied music cognition is revealed. Through artistic collaborations with a filmmaker and a film composer, custom-made, naturalistic video clips (filmed with a drone) and musical tracks were created using the film The Cranes Are Flying (Kalatozov 1957) as an aesthetic model. Empirical results demonstrate an increased sense of movement and involvement in the perception of both visual and musical “ascent.”

In this article, a neurohumanistic, "third culture" approach to "gesture" is delineated. Grounded in an exegesis of Eisenstein's sensor-motor theory and extending to both contemporary and historical thinkers, a "constellation" of the notion of both visual and musical gestures is triangulated and operationalized into empirical research. An overlap between Eisenstein's model of audio/visual gestures and the contemporary frameworks of embodied simulation theory and embodied music cognition is revealed. Through artistic collaborations with a filmmaker and a film composer, custom-made, naturalistic video dips (filmed with a drone) and musical tracks were created using the film The Cranes Are Flying (Kalatozov 1957) as an aesthetic model. Empirical results demonstrate an increased sense of movement and involvement in the perception of both visual and musical "ascent."

The meaning of music may rely upon perceived motion (Zuckerkandl, 1971). Recently, the framework of embodied music cognition, which draws on the discovery of mirror neurons and the theory of embodied simulation (Gallese, 2007), makes the claim that our understanding of human-made sounds draws upon our experience of making the same or similar movements and sounds, which involves imitation of the source of visual and auditory information (Cox, 2011). This paper investigates perceived motion and embodied music experience in non-musicians across three musical dimensions: melodic contour (ascending, descending and flat), melodic complexity (low, medium, high) and, following from Hanson and Huron (2019), note pattern (binary, ternary, quaternary). As part of an initiative to adhere to a high aesthetic standard, 27 ten-second piano tracks were created in collaboration with a film composer. In the computer task, participants rated stimuli on a Visual Analogue Scale (VAS) ranging from 0 to 100 for perceived Direction, Rotation, Movement, and Emotional and Physical Involvement. Results showed that: 1) Quaternary conditions were perceived as having significantly more Rotation, Movement and being more Physically Involving than Ternary and Binary, 2) High Complexity conditions were perceived as evoking significantly more Movement and being more Emotionally Involving than Low and Medium, and 3) Ascending conditions were perceived as having significantly more Movement, Rotation and being more Emotionally and Physically Involving than Descending and Flat. Results indicate that greater embodiment evoked by musical ascent may be modulated by greater perceived exertion or ‘effort’ to reach higher pitches, in line with the mimetic subvocalization hypothesis (Cox, 2017). Future studies are needed to investigate whether perceived rotation is driven by note pattern (i.e. metre) or note density and pitch., and how musical contour and rotation impact sensorimotor activation in the brain.

The COVID-19 pandemic has dramatically changed the nature of our social interactions. In order to understand how protective equipment and distancing measures influence the ability to comprehend others’ emotions and, thus, to effectively interact with others, we carried out an online study across the Italian population during the first pandemic peak. Participants were shown static facial expressions (Angry, Happy and Neutral) covered by a sanitary mask or by a scarf. They were asked to evaluate the expressed emotions as well as to assess the degree to which one would adopt physical and social distancing measures for each stimulus. Results demonstrate that, despite the covering of the lower-face, participants correctly recognized the facial expressions of emotions with a polarizing effect on emotional valence ratings found in females. Noticeably, while females’ ratings for physical and social distancing were driven by the emotional content of the stimuli, males were influenced by the “covered” condition. The results also show the impact of the pandemic on anxiety and fear experienced by participants. Taken together, our results offer novel insights on the impact of the COVID-19 pandemic on social interactions, providing a deeper understanding of the way people react to different kinds of protective face covering.

According to embodied simulation theory, humans tacitly ‘simulate’ the actions of the other by mapping them in the sensorimotor cortex of the brain. According to the framework of embodied cinema, the meaning-making process in film is considered to be inextricably linked to the interrelation between the brain, body and environment of the viewer. Athough there are a growing number of theoretical and technological studies on the embodied nature of drone flight, to date no studies have investigated the effect of drone footage with and without human bodily movement on spectators’ cognitive behavioral mechanisms. Thus, the present study investigates the relationship between Drone Movement (Ascending, Descending, Still) , Actor Presence (Female, Male, None) and Image Speed (Normal, Slow, Very Slow) on perceived motion, appeal and involvement measures. To achieve these aims, a custom-made, naturalistic set of video stimuli modeled after the staircase scene in the Soviet film The Cranes Are Flying (Kalatozov, 1957) was created using a DJI Phantom Pro 4 Drone. In the experimental task (carried out at the computer), participants were asked to rate video stimuli using a Visual Analogue Scale (VAS) ranging from 0 to 100 for perceived Duration, Liking, Movement, and Emotional and Physical Involvement. Results demonstrate that: 1) Ascending and Descending had significantly higher ratings for perceived Duration, Movement and Physical and Emotional Involvement than Still; 2) Ascending had significantly higher ratings for perceived Duration, Movement and Emotional Involvement than Descending; 3) Female and Male had significantly higher ratings for Movement, Physical Involvement and Emotional Involvement than None (No Actor); 4) Normal Image Speed had significantly higher ratings for Movement, Physical Involvement and Emotional Involvement with respect to Slow and Very Slow. Results indicate that drone/actor ascent may evoke more motion and involvement due to perceived exertion or ‘effort’ to climb up the stairs, and that participants resonate more with conspecifics and familiar repertoires, in support of embodied simulation theory. Results also indicate that movement in the drone/actor image modulates perceived time. Neuroimaging studies are needed to investiate the impact of drone movement with or without human bodily movement on cortical sensorimotor activation in the brain.

Studies on the lateralization of facial perception and the asymmetry of facial emotional expressions date back to the 19th century. Several left-side biases have been identified: greater expressivity of the left side of the face, a left cheek bias (i.e. a preference to display one’s left cheek), a left visual field advantage (i.e. a preference and improved performance when stimuli are presented in the left visual field), a left gaze bias (i.e. a preference to direct and to spend more time looking at the left side of centrally presented faces, i.e. the anatomical right side). The simultaneous occurrence of these left-side biases, however, has hardly been studied. Thus, we recorded participants’ visual scan-paths and emotional intensity ratings of the depicted faces of pre-19th century self-portraits (i.e. anatomical left side of the face in the left visual field), portraits (i.e. anatomical left side of the face in the right visual field), and their mirror-reversed formats. Self-portraits evoked greater emotional intensity ratings and shorter latencies of the first fixation than portraits, regardless of their format. In addition, for self-portraits the duration of the first fixation was longer for the anatomical left hemi-face. We hypothesize that the observation of self-portraits may arouse greater sensorimotor engagement in the observer as a result of the greater sensorimotor engagement of the artist while painting them.

Although the Kuleshov effect is often cited as fundamental to the cinematic vocabulary, our understanding of the genesis and evolution of its narrative is incomplete. This paper aims to shed light on the evolution and plasticity of Kuleshov's early accounts of the experiment as well as the interweaving and contradictory trails that shaped the cultural understanding of the Kuleshov effect in Europe, the US, and the USSR through Kuleshov's and Pudovkin's writings. Finally, it will examine how this has contributed to an ongoing narrative within film theory and history.

Abstract The COVID-19 pandemic has dramatically changed the nature of our social interactions. In order to understand how protective equipment and distancing measures influence the ability to comprehend others’ emotions and, thus, to effectively interact with others, we carried out an online survey across the Italian population during the first pandemic peak. Participants were shown static facial expressions (Angry, Happy and Neutral) covered by a sanitary mask or by a scarf. They were asked to evaluate the expressed emotions as well as to assess the degree to which one would adopt physical and social distancing measures for each stimulus. Results demonstrate that, despite the covering of the lower-face, participants correctly recognized the facial expressions of emotions with a polarizing effect on emotional valence ratings found in females. Noticeably, while females’ ratings for physical and social distancing were driven by the emotional content of the stimuli, males were influenced by the “covered” condition. The results also show the impact of the pandemic on anxiety and fear experienced by participants. Taken together, our results offer novel insights on the impact of the COVID-19 pandemic on social interactions, providing a deeper understanding of the way people react to different kinds of protective face covering.

Few studies have explored the specificities of contextual modulations of the processing of facial expressions at a neuronal level. This study fills this gap by employing an original paradigm, based on a version of the filmic “Kuleshov effect”. High-density EEG was recorded while participants watched film sequences consisting of three shots: the close-up of a target person’s neutral face (Face_1), the scene that the target person was looking at (happy, fearful, or neutral), and another close-up of the same target person’s neutral face (Face_2). The participants’ task was to rate both valence and arousal, and subsequently to categorize the target person’s emotional state. The results indicate that despite a significant behavioural ‘context’ effect, the electrophysiological indexes still indicate that the face is evaluated as neutral. Specifically, Face_2 elicited a high amplitude N170 when preceded by neutral contexts, and a high amplitude Late Positive Potential (LPP) when preceded by emotional contexts, thus showing sensitivity to the evaluative congruence (N170) and incongruence (LPP) between context and Face_2. The LPP activity was mainly underpinned by brain regions involved in facial expressions and emotion recognition processing. Our results shed new light on temporal and neural correlates of context-sensitivity in the interpretation of facial expressions.

Nowadays, works of art can be enjoyed in both their original and reproduced format. The aim of this study was to investigate whether the format of a work of art could influence physiological and cognitive responses in beholders. Two abstract works of art and their digital reproductions were selected as experimental stimuli and displayed for 2 min to 60 participants in a museum. HRV, HR, and RMSSD were recorded, while participants observed the works of art. Subsequently, participants provided behavioral ratings of color intensity, emotional intensity, aesthetic evaluation, perceived movement, and desire to touch the works of art. Results demonstrated that the faithful high-quality digital reproduction of works of art could be as arousing as the original works of art, but at the same time, they cannot replace the experience of standing in front of an authentic work of art in terms of explicit hedonic attributed values. Furthermore, specific interactions between individual inclinations to identify with fictional characters and acquired art competences in the context of aesthetic experience were found.

Chronic pain is a major global public health issue causing a severe impact on both the quality of life for sufferers and the wider economy. Despite the significant clinical burden, little progress has been made in terms of therapeutic development. A unique approach to identifying new human-validated analgesic drug targets is to study rare families with inherited pain insensitivity. Here we have analysed an otherwise normal family where six affected individuals display a pain insensitive phenotype that is characterized by hyposensitivity to noxious heat and painless bone fractures. This autosomal dominant disorder is found in three generations and is not associated with a peripheral neuropathy. A novel point mutation in ZFHX2, encoding a putative transcription factor expressed in small diameter sensory neurons, was identified by whole exome sequencing that segregates with the pain insensitivity. The mutation is predicted to change an evolutionarily highly conserved arginine residue 1913 to a lysine within a homeodomain. Bacterial artificial chromosome (BAC) transgenic mice bearing the orthologous murine p.R1907K mutation, as well as Zfhx2 null mutant mice, have significant deficits in pain sensitivity. Gene expression analyses in dorsal root ganglia from mutant and wild-type mice show altered expression of genes implicated in peripheral pain mechanisms. The ZFHX2 variant and downstream regulated genes associated with a human pain-insensitive phenotype are therefore potential novel targets for the development of new analgesic drugs.