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The breadth and depth of coverage of a rich literature spanning perceptual psychology, neuroscience and empirical aesthetics is notable, as is the review's call for more methodological sophistication to explore bodily interaction in aesthetics research."},{"key":"10.1016\/j.copsyc.2026.102454_bib62","unstructured":"This impressively ambitious work can only be referred to as a tour de force of dance neuroaesthetics research. The scale of the inquiry in unprecedented: EEG recordings plus subjective evaluation measures, were collected from participants across three live dance performances, as well as one follow-up lab-based screening of the dance performance. The analytical sophistication of identifying interpersonal neural synchrony in the delta band and linking this to audience engagement as well as the choreographer's predicted engagement of the dance is also notable. Finally, the impact of these findings for the field of dance aesthetics and our understanding of the impact of attending live performances, in person, with other spectators, is significant."},{"key":"10.1016\/j.copsyc.2026.102454_bib63","unstructured":"This study is notable for combining mobile brain imaging (fNIRS) with full-body movement and enjoyment ratings to examine the relationship between embodiment, synchrony and movement enjoyment. Recordings of brain activity both during movement execution and movement observation revealed how engagement of sensorimotor cortices involved in both movement perception and execution underpin the enjoyment of movement observation."},{"key":"10.1016\/j.copsyc.2026.102454_bib64","unstructured":"This perspective piece, led by a trained art historian and neuroscientist, primarily focuses on the visual arts to trace the historical trajectory of the use of technology in art creation and how current tensions regarding the use of AI in art creation might be informed by drawing on cognitive neuroscience perspectives of imitation. This piece provides a comprehensive overview of the empirical literature examining anti-AI biases in the visual arts (with mention of the smaller literature on performing arts), and attempts to situate our future relationship with AI involvement in the creative process within established social cognitive neuroscience theory."},{"key":"10.1016\/j.copsyc.2026.102454_bib65","unstructured":"This study is notable for its ambition to identify the developmental trajectory of how movement to music emerges in humans, by studying infants' brain activity and body movement simultaneously. Even though the authors found no evidence of coordinated movement to music at 3, 6 or 12 months of age, they interpret the emergence of greater movement to music in general at 12 months of age as the first stepping stone to coordinating movement to music, an ability that appears to emerge after the first year of life."},{"key":"10.1016\/j.copsyc.2026.102454_bib66","unstructured":"This study is notable for its attempt to extend knowledge of aesthetic preferences of Western European and East Asian cultures from what has been described in the visual arts to the performing arts (specifically, clips of dance movements that featured more or less synchronous choreography). The authors find that British participants preferred more asynchronous movements while Japanese participants showed no clear preference between more and less synchronous movements, and tie this into broader conceptualisations of cultural interpretations of social signals conveyed by people moving in unison."}],"container-title":["Current Opinion in Psychology"],"original-title":[],"language":"en","link":[{"URL":"https:\/\/api.elsevier.com\/content\/article\/PII:S2352250X26001922?httpAccept=text\/xml","content-type":"text\/xml","content-version":"vor","intended-application":"text-mining"},{"URL":"https:\/\/api.elsevier.com\/content\/article\/PII:S2352250X26001922?httpAccept=text\/plain","content-type":"text\/plain","content-version":"vor","intended-application":"text-mining"}],"deposited":{"date-parts":[[2026,10,8]],"date-time":"2026-10-08T02:35:33Z","timestamp":1791426933000},"score":1,"resource":{"primary":{"URL":"https:\/\/linkinghub.elsevier.com\/retrieve\/pii\/S2352250X26001922"}},"subtitle":[],"short-title":[],"issued":{"date-parts":[[2027,2]]},"references-count":66,"alternative-id":["S2352250X26001922"],"URL":"https:\/\/doi.org\/10.1016\/j.copsyc.2026.102454","relation":{},"ISSN":["2352-250X"],"issn-type":[{"value":"2352-250X","type":"print"}],"subject":[],"published":{"date-parts":[[2027,2]]},"assertion":[{"value":"Elsevier","name":"publisher","label":"This article is maintained by"},{"value":"Aesthetic perception is an embodied experience","name":"articletitle","label":"Article Title"},{"value":"Current Opinion in Psychology","name":"journaltitle","label":"Journal Title"},{"value":"https:\/\/doi.org\/10.1016\/j.copsyc.2026.102454","name":"articlelink","label":"CrossRef DOI link to publisher maintained version"},{"value":"article","name":"content_type","label":"Content Type"},{"value":"\u00a9 2026 The Author(s). 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