Evidence from multiple sources reveals a surprising link between imitation and dance. As in the classical correspondence problem central to imitation research, dance requires mapping across sensory modalities and the integration of visual and auditory inputs with motor outputs. Recent research in comparative psychology supports this association, in that entrainment to a musical beat is almost exclusively observed in animals capable of vocal or motor imitation. Dance has representational properties that rely on the dancers' ability to imitate particular people, animals or events, as well as the audience's ability to recognize these correspondences. Imitation also plays a central role in learning to dance and the acquisition of the long sequences of choreographed movements are dependent on social learning. These and other lines of evidence suggest that dancing may only be possible for humans because its performance exploits existing neural circuitry employed in imitation.

Experiments with magic effects might be informative about cognition in animals

Engaging in the art of creating and telling stories is a defining behaviour of humankind. Humans have been sharing stories with each other, with and without words, since the dawn of recorded history, but the cognitive foundations of the behaviour can be traced deeper into our past. The emergence of stories can be strongly linked to Mental Time Travel (the ability to recall the past and imagine the future) and plays a key role in our ability to communicate past, present and future scenarios with other individuals, within and beyond our lifetimes. Stories are products engraved within the concept of time, constructed to elucidate the past experiences of the self, but designed with the future in mind, thus imparting lessons of such experiences to the receiver. By being privy to the experiences of others, humans can imagine themselves in a similar position to the protagonist of the story, thus mentally learning from an experience they might have never encountered other than in the mind's eye. Evolutionary Psychology investigates how the engagement in artistic endeavours by our ancestors in the Pleistocene granted them an advantage when confronted with obstacles that challenged their survival or reproductive fitness and questions whether art is an adaptation of the human mind or a spandrel of other cognitive adaptations. However, little attention has been placed on the cognitive abilities that might have been imperative for the development of art. Here, we examine the relationship between art, storytelling, Mental Time Travel and Theory of Mind (i.e., the ability to attribute mental states to others). We suggest that Mental Time Travel played a key role in the development of storytelling because through stories, humans can fundamentally transcend their present condition, by being able to imagine different times, separate realities, and place themselves and others anywhere within the time space continuum. We argue that the development of a Theory of Mind also sparked storytelling practises in humans as a method of diffusing the past experiences of the self to others whilst enabling the receiver to dissociate between the past experiences of others and their own, and to understand them as lessons for a possible future. We propose that when artistic products rely on storytelling in form and function, they ought to be considered separate from other forms of art whose appreciation capitalise on our aesthetic preferences.

In recent years, scientists have begun to use magic effects to investigate the blind spots in our attention and perception [G. Kuhn, Experiencing the Impossible: The Science of Magic (2019); S. Macknik, S. Martinez-Conde, S. Blakeslee, Sleights of Mind: What the Neuroscience of Magic Reveals about Our Everyday Deceptions (2010)]. Recently, we suggested that similar techniques could be transferred to nonhuman animal observers and that such an endeavor would provide insight into the inherent commonalities and discrepancies in attention and perception in human and nonhuman animals [E. Garcia-Pelegrin, A. K. Schnell, C. Wilkins, N. S. Clayton, Science 369, 1424–1426 (2020)]. Here, we performed three different magic effects (palming, French drop, and fast pass) to a sample of six Eurasian jays (Garrulus glandarius). These magic effects were specifically chosen as they utilize different cues and expectations that mislead the spectator into thinking one object has or has not been transferred from one hand to the other. Results from palming and French drop experiments suggest that Eurasian jays have different expectations from humans when observing some of these effects. Specifically, Eurasian jays were not deceived by effects that required them to expect an object to move between hands when observing human hand manipulations. However, similar to humans, Eurasian jays were misled by magic effects that utilize fast movements as a deceptive action. This study investigates how another taxon perceives the magician’s techniques of deception that commonly deceive humans.

Blur patterns are physiological "streaks" of photochemical and neural activity that occur whenever an observer and his visual environment are in relative motion. When retinal velocities are high, the impression of visual "flow" gives way to one of a field of "blur lines" whose patterns are rich with information about the motions and the optical textures that produced them. Simulated blur patterns were produced and thresholds measured for the detection of divergence at nine retinal loci. Sensitivity was somewhat greater in the central retina. Thresholds remained the same despite variations in pattern velocity, number of elements, and the presence or absence of an internal velocity gradient. Observers were able to orient abovethreshold patterns, but consistently underestimated the amount of slant.