Pub Date : 2021-11-18DOI: 10.1093/oso/9780197513620.003.0012
T. Jacobsen
In this chapter, the functional neuroimaging study of aesthetic judgment of beauty, reported in Jacobsen and colleagues, is reviewed from the experimenters’ point of view. Based on a framework for the psychology of aesthetics, the multifactorial determination of aesthetic judgment is discussed, along with implications for experimental design in neuroaesthetics. The selection of dependent and independent variables, as well as the control of influencing factors on aesthetic judgment, are discussed with respect to the design of the particular study. The 2006 study is also discussed with respect to contemporary neurocognitive psychology of aesthetics or neuroaesthetics.
{"title":"A Quest for Beauty","authors":"T. Jacobsen","doi":"10.1093/oso/9780197513620.003.0012","DOIUrl":"https://doi.org/10.1093/oso/9780197513620.003.0012","url":null,"abstract":"In this chapter, the functional neuroimaging study of aesthetic judgment of beauty, reported in Jacobsen and colleagues, is reviewed from the experimenters’ point of view. Based on a framework for the psychology of aesthetics, the multifactorial determination of aesthetic judgment is discussed, along with implications for experimental design in neuroaesthetics. The selection of dependent and independent variables, as well as the control of influencing factors on aesthetic judgment, are discussed with respect to the design of the particular study. The 2006 study is also discussed with respect to contemporary neurocognitive psychology of aesthetics or neuroaesthetics.","PeriodicalId":335128,"journal":{"name":"Brain, Beauty, and Art","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122083768","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-18DOI: 10.1093/oso/9780197513620.003.0027
W. Seeley
Skepticism about neuroaesthetics emerges from a contrast between aesthetic and cognitivist theories of art. Neuroaesthetics represents an aesthetic approach to understanding art. Aesthetic approaches identify the defining features of artworks by their aesthetic features and the affective profile of the experiences they engender. Cognitivist theories, in contrast, define artworks as communicative devices intentionally designed to convey some point, purpose, or meaning. In the article under discussion, the author argues that the conflict between these two views is overblown. He introduces a diagnostic recognition framework for understanding art grounded in a biased competition theory of selective attention. The framework defines artworks as attentional engines intentionally designed to orient perceivers to diagnostic features, including aesthetic features, that carry information about their point, purpose, or meaning. The artistic salience of aesthetic features of a work on this account, consistent with a cognitivist approach, lies in the semantic role they play in the expression of the work’s point, purpose, or meaning.
{"title":"Artists, Artworks, Aesthetics, Cognition","authors":"W. Seeley","doi":"10.1093/oso/9780197513620.003.0027","DOIUrl":"https://doi.org/10.1093/oso/9780197513620.003.0027","url":null,"abstract":"Skepticism about neuroaesthetics emerges from a contrast between aesthetic and cognitivist theories of art. Neuroaesthetics represents an aesthetic approach to understanding art. Aesthetic approaches identify the defining features of artworks by their aesthetic features and the affective profile of the experiences they engender. Cognitivist theories, in contrast, define artworks as communicative devices intentionally designed to convey some point, purpose, or meaning. In the article under discussion, the author argues that the conflict between these two views is overblown. He introduces a diagnostic recognition framework for understanding art grounded in a biased competition theory of selective attention. The framework defines artworks as attentional engines intentionally designed to orient perceivers to diagnostic features, including aesthetic features, that carry information about their point, purpose, or meaning. The artistic salience of aesthetic features of a work on this account, consistent with a cognitivist approach, lies in the semantic role they play in the expression of the work’s point, purpose, or meaning.","PeriodicalId":335128,"journal":{"name":"Brain, Beauty, and Art","volume":"66 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129632935","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-18DOI: 10.1093/oso/9780197513620.003.0041
B. Bläsing, B. Calvo-Merino
Dance has become a topic of increasing interest for empirical research in cognitive neuroscience and psychology. The study reviewed in this chapter aimed to reach a multifaceted community of scholars and practitioners interested in the blending between neuroscience and dance as an art form. It includes a revision on dancers’ physical expertise and skilled motor execution, studies on dancers’ timing and online synchronization abilities, and learning and memory processes, as well as a consideration of expert dancers as skilled dance observers. Following the authors’ comment on the article, they acknowledge major developments since its publication, in particular regarding recent lines of research on emotional components of dance, creativity, aesthetic perception, improvisation, entrainment, empathy, and well-being. Finally, the authors emphasize the impact of empirical research in dance beyond cognitive neuroscience and psychology and consider the potential of multidisciplinary expert teams that include the performing arts community to contribute to discourses in the arts and the sciences.
{"title":"The Mind, the Brain, and the Moving Body","authors":"B. Bläsing, B. Calvo-Merino","doi":"10.1093/oso/9780197513620.003.0041","DOIUrl":"https://doi.org/10.1093/oso/9780197513620.003.0041","url":null,"abstract":"Dance has become a topic of increasing interest for empirical research in cognitive neuroscience and psychology. The study reviewed in this chapter aimed to reach a multifaceted community of scholars and practitioners interested in the blending between neuroscience and dance as an art form. It includes a revision on dancers’ physical expertise and skilled motor execution, studies on dancers’ timing and online synchronization abilities, and learning and memory processes, as well as a consideration of expert dancers as skilled dance observers. Following the authors’ comment on the article, they acknowledge major developments since its publication, in particular regarding recent lines of research on emotional components of dance, creativity, aesthetic perception, improvisation, entrainment, empathy, and well-being. Finally, the authors emphasize the impact of empirical research in dance beyond cognitive neuroscience and psychology and consider the potential of multidisciplinary expert teams that include the performing arts community to contribute to discourses in the arts and the sciences.","PeriodicalId":335128,"journal":{"name":"Brain, Beauty, and Art","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123007069","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-18DOI: 10.1093/oso/9780197513620.003.0003
Matthew Pelowski, H. Leder
In this chapter, the authors report on how they joined in the exciting project to lay the theoretical foundations describing aesthetic experiences with artwork. Their 2017 paper was a culmination of meetings, later intense collaboration in Vienna’s empirical aesthetic research group, and the convergence of the models that the authors had independently developed in the past. The joint model described here was a major development that included a pre-state incorporating schemas (working maps of the world, expectations, beliefs, cued behaviors, actions, meanings, responses, and a general idea of self) that one might bring to an art encounter and also addressed the implications of different outcomes from all engagements, with especially visual media. The authors’ general aim was to answer what, broadly speaking, could happen when individuals encounter any design or visual art.
{"title":"But, What Actually Happens When We Engage with “Art”?","authors":"Matthew Pelowski, H. Leder","doi":"10.1093/oso/9780197513620.003.0003","DOIUrl":"https://doi.org/10.1093/oso/9780197513620.003.0003","url":null,"abstract":"In this chapter, the authors report on how they joined in the exciting project to lay the theoretical foundations describing aesthetic experiences with artwork. Their 2017 paper was a culmination of meetings, later intense collaboration in Vienna’s empirical aesthetic research group, and the convergence of the models that the authors had independently developed in the past. The joint model described here was a major development that included a pre-state incorporating schemas (working maps of the world, expectations, beliefs, cued behaviors, actions, meanings, responses, and a general idea of self) that one might bring to an art encounter and also addressed the implications of different outcomes from all engagements, with especially visual media. The authors’ general aim was to answer what, broadly speaking, could happen when individuals encounter any design or visual art.","PeriodicalId":335128,"journal":{"name":"Brain, Beauty, and Art","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132456030","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-18DOI: 10.1093/oso/9780197513620.003.0020
M. Nadal, Z. Cattaneo, C. Cela-Conde
Several neuroimaging studies had shown that activity in the left dorsolateral prefrontal cortex (lDLPFC) was associated with aesthetic appreciation. But, was this a causal association? In the article under discussion, the authors used transcranial direct current stimulation (tDCS) to determine whether lDLPFC activity actually caused increased aesthetic appreciation. Their results showed that tDCS over lDLPFC caused liking for artworks and photographs to increase. They therefore concluded that the lDLPFC plays a causal role in visual aesthetic appreciation. The authors suggested that lDLPFC activity contributes to disengaging from a pragmatic orientation to stimuli, consisting mainly in identifying objects, adopting an aesthetic orientation, and focusing on those objects’ aesthetic qualities.
{"title":"Noninvasive Brain Stimulation of the Dorsolateral Prefrontal Cortex During Aesthetic Appreciation","authors":"M. Nadal, Z. Cattaneo, C. Cela-Conde","doi":"10.1093/oso/9780197513620.003.0020","DOIUrl":"https://doi.org/10.1093/oso/9780197513620.003.0020","url":null,"abstract":"Several neuroimaging studies had shown that activity in the left dorsolateral prefrontal cortex (lDLPFC) was associated with aesthetic appreciation. But, was this a causal association? In the article under discussion, the authors used transcranial direct current stimulation (tDCS) to determine whether lDLPFC activity actually caused increased aesthetic appreciation. Their results showed that tDCS over lDLPFC caused liking for artworks and photographs to increase. They therefore concluded that the lDLPFC plays a causal role in visual aesthetic appreciation. The authors suggested that lDLPFC activity contributes to disengaging from a pragmatic orientation to stimuli, consisting mainly in identifying objects, adopting an aesthetic orientation, and focusing on those objects’ aesthetic qualities.","PeriodicalId":335128,"journal":{"name":"Brain, Beauty, and Art","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131485459","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-18DOI: 10.1093/oso/9780197513620.003.0033
E. Brattico, Vinoo Alluri
This chapter provides a behind-the-scenes account of the birth of a naturalistic approach to the neuroscience of the musical aesthetic experience. The story starts from a lab talk giving the inspiration to translate the naturalistic paradigm initially applied to neuroimaging studies of the visual domain into music research. The circumstantial co-presence of neuroscientists and computational musicologists at the same center did the trick, permitting the identification of controlled variables for brain signal processing from the automatic extraction of the acoustic features of real music. This approach is now well accepted by the music neuroscience community while still waiting for full exploitation by aesthetic research.
{"title":"Music in All Its Beauty","authors":"E. Brattico, Vinoo Alluri","doi":"10.1093/oso/9780197513620.003.0033","DOIUrl":"https://doi.org/10.1093/oso/9780197513620.003.0033","url":null,"abstract":"This chapter provides a behind-the-scenes account of the birth of a naturalistic approach to the neuroscience of the musical aesthetic experience. The story starts from a lab talk giving the inspiration to translate the naturalistic paradigm initially applied to neuroimaging studies of the visual domain into music research. The circumstantial co-presence of neuroscientists and computational musicologists at the same center did the trick, permitting the identification of controlled variables for brain signal processing from the automatic extraction of the acoustic features of real music. This approach is now well accepted by the music neuroscience community while still waiting for full exploitation by aesthetic research.","PeriodicalId":335128,"journal":{"name":"Brain, Beauty, and Art","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126815105","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-18DOI: 10.1093/oso/9780197513620.003.0007
Martin Skov
The concept of aesthetic appreciation is a historical construction with a history that traces back to the beginning of the 18th century. It proposes the idea that humans can experience a specific kind of nonutilitarian pleasure when exposed to a distinct set of aesthetic qualities. This chapter surveys findings from recent neuroimaging studies that have cast doubt on this idea. It explains how studies of neural activity associated with aesthetic appreciation have found “aesthetic” liking to engage similar neural structures as utilitarian liking, suggesting that aesthetic appreciation is rooted in computational principles that are common to hedonic evaluation broadly.
{"title":"How Neuroimaging Is Transforming Our Understanding of Aesthetic Taste","authors":"Martin Skov","doi":"10.1093/oso/9780197513620.003.0007","DOIUrl":"https://doi.org/10.1093/oso/9780197513620.003.0007","url":null,"abstract":"The concept of aesthetic appreciation is a historical construction with a history that traces back to the beginning of the 18th century. It proposes the idea that humans can experience a specific kind of nonutilitarian pleasure when exposed to a distinct set of aesthetic qualities. This chapter surveys findings from recent neuroimaging studies that have cast doubt on this idea. It explains how studies of neural activity associated with aesthetic appreciation have found “aesthetic” liking to engage similar neural structures as utilitarian liking, suggesting that aesthetic appreciation is rooted in computational principles that are common to hedonic evaluation broadly.","PeriodicalId":335128,"journal":{"name":"Brain, Beauty, and Art","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129828642","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-18DOI: 10.1093/oso/9780197513620.003.0006
Oshin Vartanian, A. Chatterjee
Following the rapid growth of neuroaesthetics, there was a need to systematize and organize the findings into a coherent and testable framework. With the “aesthetic triad,” the authors presented a model according to which aesthetic experience was viewed as the emergent property of the interaction of three large-scale systems in the brain: sensory-motor, emotion-valuation, and knowledge-meaning. Features that distinguished this model from others was that it was meant to apply to all aesthetic episodes (e.g., art, faces, architecture, etc.) and it acknowledged explicitly that a large variety of aesthetic experiences can emerge as a function of the specific ways in which these systems interact in the course of their emergence. To probe the model, the contribution of the knowledge-meaning system is likely of greatest interest, at least in part because that system encapsulates a large breadth of factors ranging from the personal to the cultural.
{"title":"The Aesthetic Triad","authors":"Oshin Vartanian, A. Chatterjee","doi":"10.1093/oso/9780197513620.003.0006","DOIUrl":"https://doi.org/10.1093/oso/9780197513620.003.0006","url":null,"abstract":"Following the rapid growth of neuroaesthetics, there was a need to systematize and organize the findings into a coherent and testable framework. With the “aesthetic triad,” the authors presented a model according to which aesthetic experience was viewed as the emergent property of the interaction of three large-scale systems in the brain: sensory-motor, emotion-valuation, and knowledge-meaning. Features that distinguished this model from others was that it was meant to apply to all aesthetic episodes (e.g., art, faces, architecture, etc.) and it acknowledged explicitly that a large variety of aesthetic experiences can emerge as a function of the specific ways in which these systems interact in the course of their emergence. To probe the model, the contribution of the knowledge-meaning system is likely of greatest interest, at least in part because that system encapsulates a large breadth of factors ranging from the personal to the cultural.","PeriodicalId":335128,"journal":{"name":"Brain, Beauty, and Art","volume":" 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132124237","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-18DOI: 10.1093/oso/9780197513620.003.0032
D. Levitin, Lindsay A. Fleming
Although much is known about the brain mechanisms underlying music perception and cognition, there is much work to be done in understanding aesthetic responses to music: Why does music make us feel the way we do? Why does it make us feel anything? In the article under discussion, the authors suggest that the brain’s own endogenous opioids mediate musical emotion, using the hypothesis of naltrexone-induced musical anhedonia. They conclude that endogenous opioids are critical to experiencing both positive and negative emotions in music and that music uses the same reward pathways as food, drugs, and sexual pleasure. Their findings add to the growing body of evidence for the evolutionary biological substrates of music.
{"title":"Why Does Music Evoke Strong Emotions?","authors":"D. Levitin, Lindsay A. Fleming","doi":"10.1093/oso/9780197513620.003.0032","DOIUrl":"https://doi.org/10.1093/oso/9780197513620.003.0032","url":null,"abstract":"Although much is known about the brain mechanisms underlying music perception and cognition, there is much work to be done in understanding aesthetic responses to music: Why does music make us feel the way we do? Why does it make us feel anything? In the article under discussion, the authors suggest that the brain’s own endogenous opioids mediate musical emotion, using the hypothesis of naltrexone-induced musical anhedonia. They conclude that endogenous opioids are critical to experiencing both positive and negative emotions in music and that music uses the same reward pathways as food, drugs, and sexual pleasure. Their findings add to the growing body of evidence for the evolutionary biological substrates of music.","PeriodicalId":335128,"journal":{"name":"Brain, Beauty, and Art","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122637841","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-11-18DOI: 10.1093/oso/9780197513620.003.0024
Edward A. Vessel, G. Starr
Aesthetic experiences can be deeply personal. Given this subjectivity, how can cognitive neuroscience characterize the neural mechanisms supporting intense aesthetic experiences? Using functional magnetic resonance imaging, Vessel, Starr, and Rubin measured brain responses as observers viewed a diverse set of artworks and rated how aesthetically “moving” they found each artwork. Although individual observers expressed highly divergent aesthetic tastes, imaging results identified several regions consistently more engaged by moving artworks, including nodes of the default-mode network (DMN), a set of brain regions implicated in internally directed mentation. This work increased interest in the DMN and the role of internally directed thought in aesthetic experiences and helped to shift the focus of inquiry from single regions to network interactions. A result of close interaction between humanists and neuroscientists, the paper under discussion captured more of the richness of aesthetic experiences than was common in neuroimaging experiments. The authors hope that this legacy continues to inform future work.
{"title":"Imaging the Subjective","authors":"Edward A. Vessel, G. Starr","doi":"10.1093/oso/9780197513620.003.0024","DOIUrl":"https://doi.org/10.1093/oso/9780197513620.003.0024","url":null,"abstract":"Aesthetic experiences can be deeply personal. Given this subjectivity, how can cognitive neuroscience characterize the neural mechanisms supporting intense aesthetic experiences? Using functional magnetic resonance imaging, Vessel, Starr, and Rubin measured brain responses as observers viewed a diverse set of artworks and rated how aesthetically “moving” they found each artwork. Although individual observers expressed highly divergent aesthetic tastes, imaging results identified several regions consistently more engaged by moving artworks, including nodes of the default-mode network (DMN), a set of brain regions implicated in internally directed mentation. This work increased interest in the DMN and the role of internally directed thought in aesthetic experiences and helped to shift the focus of inquiry from single regions to network interactions. A result of close interaction between humanists and neuroscientists, the paper under discussion captured more of the richness of aesthetic experiences than was common in neuroimaging experiments. The authors hope that this legacy continues to inform future work.","PeriodicalId":335128,"journal":{"name":"Brain, Beauty, and Art","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116665441","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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