Pub Date : 2021-11-18DOI: 10.1093/oso/9780197513620.003.0005
C. Di Dio, V. Gallese
In this chapter, the authors comment on their original review published in 2009 in Current Opinion in Neurobiology where, as they build a general theoretical framework that encompasses major empirical work in the field of neuroaesthetics since then, they also emphasize the role of the motor system and emotions in building an aesthetic experience. In this chapter, the authors extend their previous view with further empirical evidence, including from clinical and developmental psychology, thus supporting the idea that perception is not a mere “visual” copy of what is before our eyes, but the result of a complex construction whose outcome depends on the contribution of our body and its motor potential, our senses and emotions, imagination and memories. While the authors offer some food for thought for future research, they conclude by introducing a fairly recent line of study that explores the role of embodiment in architecture.
在本章中，作者对2009年发表在《神经生物学当前观点》(Current Opinion In Neurobiology)上的原始评论进行了评论，在该评论中，他们建立了一个涵盖神经美学领域主要实证工作的一般理论框架，同时也强调了运动系统和情感在构建审美体验中的作用。在本章中，作者用进一步的经验证据(包括来自临床和发展心理学的证据)扩展了他们之前的观点，从而支持这样一种观点，即感知不仅仅是我们眼前事物的“视觉”复制，而是一个复杂结构的结果，其结果取决于我们的身体及其运动潜能、我们的感官和情感、想象力和记忆的贡献。虽然作者为未来的研究提供了一些思路，但他们通过介绍最近的一系列研究来总结，这些研究探索了体现在建筑中的作用。
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Pub Date : 2021-11-18DOI: 10.1093/oso/9780197513620.003.0001
A. Chatterjee
In the early 2000s, no framework within which to investigate the biology of aesthetics had been articulated. The author believes that a componential framework, as was common in cognitive psychology, applied to neuroaesthetics made sense. Such frameworks were commonly applied to complex cognitive domains, such as in language, emotion processing, or visual processing research. As such, the author proposes a “box and arrow” model which incorporated levels of visual processing, emotions, attention, and decision-making. The advantage of such a framework is that specific experiments could be placed in the context of testing hypotheses of parts of a larger system deployed for aesthetic processing. The framework has held up well over the years, although the author believes he did not sufficiently emphasize the role of the motor system and the rich contribution of semantics in aesthetic experiences.
{"title":"An Early Framework for a Cognitive Neuroscience of Visual Aesthetics","authors":"A. Chatterjee","doi":"10.1093/oso/9780197513620.003.0001","DOIUrl":"https://doi.org/10.1093/oso/9780197513620.003.0001","url":null,"abstract":"In the early 2000s, no framework within which to investigate the biology of aesthetics had been articulated. The author believes that a componential framework, as was common in cognitive psychology, applied to neuroaesthetics made sense. Such frameworks were commonly applied to complex cognitive domains, such as in language, emotion processing, or visual processing research. As such, the author proposes a “box and arrow” model which incorporated levels of visual processing, emotions, attention, and decision-making. The advantage of such a framework is that specific experiments could be placed in the context of testing hypotheses of parts of a larger system deployed for aesthetic processing. The framework has held up well over the years, although the author believes he did not sufficiently emphasize the role of the motor system and the rich contribution of semantics in aesthetic experiences.","PeriodicalId":335128,"journal":{"name":"Brain, Beauty, and Art","volume":"100 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":"131563719","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/9780197513620.003.0034
Amy M. Belfi, Agathe Pralus, C. Hirel, D. Tranel, B. Tillmann, A. Caclin
The study under discussion sought to investigate the hemispheric laterality of musical emotions: Is one hemisphere of the brain preferentially involved in recognizing emotions in music? The authors took a neuropsychological approach to answer this question by studying emotional judgments of music in people with brain damage to either hemisphere. Their results indicated that individuals with left hemisphere damage were significantly impaired in recognizing musical emotions as compared to healthy comparison participants. In contrast, individuals with right hemisphere damage were not impaired at identifying emotions in music, but rated the perceived intensity of the emotions lower for sadness and fear (as compared to joy and serenity). Their work suggests that the identification of emotions in music and the perceived intensity of the emotions expressed may rely on different hemispheres of the brain.
{"title":"Investigating Musical Emotions in People with Unilateral Brain Damage","authors":"Amy M. Belfi, Agathe Pralus, C. Hirel, D. Tranel, B. Tillmann, A. Caclin","doi":"10.1093/oso/9780197513620.003.0034","DOIUrl":"https://doi.org/10.1093/oso/9780197513620.003.0034","url":null,"abstract":"The study under discussion sought to investigate the hemispheric laterality of musical emotions: Is one hemisphere of the brain preferentially involved in recognizing emotions in music? The authors took a neuropsychological approach to answer this question by studying emotional judgments of music in people with brain damage to either hemisphere. Their results indicated that individuals with left hemisphere damage were significantly impaired in recognizing musical emotions as compared to healthy comparison participants. In contrast, individuals with right hemisphere damage were not impaired at identifying emotions in music, but rated the perceived intensity of the emotions lower for sadness and fear (as compared to joy and serenity). Their work suggests that the identification of emotions in music and the perceived intensity of the emotions expressed may rely on different hemispheres of the brain.","PeriodicalId":335128,"journal":{"name":"Brain, Beauty, and Art","volume":"25 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":"125173706","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/9780197513620.003.0040
Emily S. Cross
The embodied simulation account of aesthetics, proposed by Freedberg and Gallese, assigns a pivotal role to an observer’s body in aesthetic appreciation of an artwork. While originally focused on visual artworks (such as paintings and sculpture), this theory clearly also holds great relevance to the performing arts, in particular dance. In this chapter, the author describes how she was inspired by this theory, as well as earlier work using dance as stimuli and dancers as participants to explore the relationship between embodiment, perception, and brain activity from a non-artistic perspective, to examine how observers’ physical abilities (or lack thereof) shape dance preferences. The author describes her team’s work demonstrating that dance-naïve participants are most drawn to highly complex, impressive dance movements impossible for observers to embody or perform themselves and how engagement of brain regions implicated in translating perception into action appear to be involved in this process.
{"title":"An Eye for the Impossible","authors":"Emily S. Cross","doi":"10.1093/oso/9780197513620.003.0040","DOIUrl":"https://doi.org/10.1093/oso/9780197513620.003.0040","url":null,"abstract":"The embodied simulation account of aesthetics, proposed by Freedberg and Gallese, assigns a pivotal role to an observer’s body in aesthetic appreciation of an artwork. While originally focused on visual artworks (such as paintings and sculpture), this theory clearly also holds great relevance to the performing arts, in particular dance. In this chapter, the author describes how she was inspired by this theory, as well as earlier work using dance as stimuli and dancers as participants to explore the relationship between embodiment, perception, and brain activity from a non-artistic perspective, to examine how observers’ physical abilities (or lack thereof) shape dance preferences. The author describes her team’s work demonstrating that dance-naïve participants are most drawn to highly complex, impressive dance movements impossible for observers to embody or perform themselves and how engagement of brain regions implicated in translating perception into action appear to be involved in this process.","PeriodicalId":335128,"journal":{"name":"Brain, Beauty, and Art","volume":"77 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":"127817433","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/9780197513620.003.0021
Claudia Menzel, G. Kovács, G. Hayn-Leichsenring, C. Redies
Most artists who create abstract paintings place the pictorial elements not at random, but arrange them intentionally in a specific artistic composition. This arrangement results in a pattern of image properties that differs from image versions in which the same pictorial elements are randomly shuffled. In the article under discussion, the original abstract paintings of the author’s image set were rated as more ordered and harmonious but less interesting than their shuffled counterparts. The authors tested whether the human brain distinguishes between these original and shuffled images by recording electrical brain activity in a particular paradigm that evokes a so-called visual mismatch negativity. The results revealed that the brain detects the differences between the two types of images fast and automatically. These findings are in line with models that postulate a significant role of early (low-level) perceptual processing of formal image properties in aesthetic evaluations.
{"title":"Is Artistic Composition in Abstract Art Detected Automatically?","authors":"Claudia Menzel, G. Kovács, G. Hayn-Leichsenring, C. Redies","doi":"10.1093/oso/9780197513620.003.0021","DOIUrl":"https://doi.org/10.1093/oso/9780197513620.003.0021","url":null,"abstract":"Most artists who create abstract paintings place the pictorial elements not at random, but arrange them intentionally in a specific artistic composition. This arrangement results in a pattern of image properties that differs from image versions in which the same pictorial elements are randomly shuffled. In the article under discussion, the original abstract paintings of the author’s image set were rated as more ordered and harmonious but less interesting than their shuffled counterparts. The authors tested whether the human brain distinguishes between these original and shuffled images by recording electrical brain activity in a particular paradigm that evokes a so-called visual mismatch negativity. The results revealed that the brain detects the differences between the two types of images fast and automatically. These findings are in line with models that postulate a significant role of early (low-level) perceptual processing of formal image properties in aesthetic evaluations.","PeriodicalId":335128,"journal":{"name":"Brain, Beauty, and Art","volume":"47 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":"133210457","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/9780197513620.003.0047
A. Chatterjee, E. Cardillo
In the closing chapter of this volume, the authors highlight conceptual, methodological, technical, and speculative issues that emerge from the collection and that they believe point to important future directions for the field of neuroaesthetics. One fundamental question that runs implicitly through the collection and is answered variously by the authors is what is meant by “aesthetics.” We note, too, opportunities for new lines of research that will significantly advance the models and applied relevance of neuroaesthetics. Such studies might address cross-cultural tests of neuroaesthetic theories, temporal dimensions of aesthetic engagement, multimodal experiences, neurochemical mechanisms, neuropsychological investigations of aesthetic experience, naturalistic experimental designs, and the impact of artificial intelligence and other technologies on our conceptions of art and creativity.
{"title":"Epilogue","authors":"A. Chatterjee, E. Cardillo","doi":"10.1093/oso/9780197513620.003.0047","DOIUrl":"https://doi.org/10.1093/oso/9780197513620.003.0047","url":null,"abstract":"In the closing chapter of this volume, the authors highlight conceptual, methodological, technical, and speculative issues that emerge from the collection and that they believe point to important future directions for the field of neuroaesthetics. One fundamental question that runs implicitly through the collection and is answered variously by the authors is what is meant by “aesthetics.” We note, too, opportunities for new lines of research that will significantly advance the models and applied relevance of neuroaesthetics. Such studies might address cross-cultural tests of neuroaesthetic theories, temporal dimensions of aesthetic engagement, multimodal experiences, neurochemical mechanisms, neuropsychological investigations of aesthetic experience, naturalistic experimental designs, and the impact of artificial intelligence and other technologies on our conceptions of art and creativity.","PeriodicalId":335128,"journal":{"name":"Brain, Beauty, and Art","volume":"25 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":"125282936","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/9780197513620.003.0038
Steven Brown
In a neuroimaging study of tango dancers, the authors attempted to address two fundamental issues about dance: movement patterning (i.e., navigation of the legs in space) and synchronization of movement to the beat of music. The results of the study revealed the importance of the posterior parietal cortex to spatial navigation of movement and the cerebellum to synchronization to the beat. In a later two-person study of leading and following in dance, the author found that leaders accentuate motor processes, while followers accentuate sensory processes in their partnership. Dance is an interesting marriage of movement patterning, timing, and joint action.
{"title":"Movement, Synchronization, and Partnering in Dance","authors":"Steven Brown","doi":"10.1093/oso/9780197513620.003.0038","DOIUrl":"https://doi.org/10.1093/oso/9780197513620.003.0038","url":null,"abstract":"In a neuroimaging study of tango dancers, the authors attempted to address two fundamental issues about dance: movement patterning (i.e., navigation of the legs in space) and synchronization of movement to the beat of music. The results of the study revealed the importance of the posterior parietal cortex to spatial navigation of movement and the cerebellum to synchronization to the beat. In a later two-person study of leading and following in dance, the author found that leaders accentuate motor processes, while followers accentuate sensory processes in their partnership. Dance is an interesting marriage of movement patterning, timing, and joint action.","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":"122245314","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/9780197513620.003.0031
L. Ferreri, J. Riba, R. Zatorre, A. Rodríguez-Fornells
During the past decade, research in cognitive neuroscience has tried to understand how the organized acoustic information we call music is decoded in the brain as pleasant and rewarding stimulus. In this chapter, the authors retrace part of this intriguing journey: from the first positron emission tomography study revealing the association between the mesolimbic system and musical pleasure to the recent pharmacological interventions showing that dopamine causally mediates the subjectively rewarding experience elicited by music. The dopamine-dependent hedonic and motivational responses to music may depend on the modulations of several neural mechanisms related not only to emotion, but also to attention and memory. Musical reward arises therefore as a complex set of processes which constitute a special access key to the study of human cognition.
{"title":"Chills, Bets, and Dopamine","authors":"L. Ferreri, J. Riba, R. Zatorre, A. Rodríguez-Fornells","doi":"10.1093/oso/9780197513620.003.0031","DOIUrl":"https://doi.org/10.1093/oso/9780197513620.003.0031","url":null,"abstract":"During the past decade, research in cognitive neuroscience has tried to understand how the organized acoustic information we call music is decoded in the brain as pleasant and rewarding stimulus. In this chapter, the authors retrace part of this intriguing journey: from the first positron emission tomography study revealing the association between the mesolimbic system and musical pleasure to the recent pharmacological interventions showing that dopamine causally mediates the subjectively rewarding experience elicited by music. The dopamine-dependent hedonic and motivational responses to music may depend on the modulations of several neural mechanisms related not only to emotion, but also to attention and memory. Musical reward arises therefore as a complex set of processes which constitute a special access key to the study of human cognition.","PeriodicalId":335128,"journal":{"name":"Brain, Beauty, and Art","volume":"24 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":"130488831","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/9780197513620.003.0010
A. Chatterjee
In the paper discussed in this chapter, the authors were interested in the neural underpinnings for facial beauty and whether such responses were automatic. In a functional magnetic resonance imaging study over two sessions, the authors asked participants to make beauty and identity judgments on a series of computer-generated faces. When people judged beauty, the authors found that neural activity varied parametrically to the degree of facial attractiveness in the fusiform face area and the lateral occipital complex, as well as in parts of parietal and frontal cortices. When people made familiarity judgments, the authors observed the same modulation of neural activity within occipital cortex to the degree of attractiveness in the faces. The data suggested that human brains automatically respond to facial beauty even when people might be attending to other aspects of the faces they apprehend.
{"title":"Beautiful People in the Brain of the Beholder","authors":"A. Chatterjee","doi":"10.1093/oso/9780197513620.003.0010","DOIUrl":"https://doi.org/10.1093/oso/9780197513620.003.0010","url":null,"abstract":"In the paper discussed in this chapter, the authors were interested in the neural underpinnings for facial beauty and whether such responses were automatic. In a functional magnetic resonance imaging study over two sessions, the authors asked participants to make beauty and identity judgments on a series of computer-generated faces. When people judged beauty, the authors found that neural activity varied parametrically to the degree of facial attractiveness in the fusiform face area and the lateral occipital complex, as well as in parts of parietal and frontal cortices. When people made familiarity judgments, the authors observed the same modulation of neural activity within occipital cortex to the degree of attractiveness in the faces. The data suggested that human brains automatically respond to facial beauty even when people might be attending to other aspects of the faces they apprehend.","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":"134120475","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/9780197513620.003.0023
S. Lacey, K. Sathian
The “art infusion effect” suggests that people evaluate products more positively when they are associated with art images than non-art images. Using functional magnetic resonance imaging during viewing of art and non-art images matched for content, the authors investigated whether artistic status alone could activate the reward circuit. Relative to non-art images, art images indeed activated reward-related regions including the ventral striatum. This activity was uncorrelated with response times, ratings of familiarity, or aesthetic preference for art images, suggesting that these variables were unrelated to the art-selective activations. Effective connectivity analyses showed that the ventral striatum was driven by visual cortical regions when viewing art images but not non-art images and was not driven by regions that correlated with aesthetic preference for either art or non-art images. These findings suggest that visual art involves activation of reward circuitry based on artistic status alone and independently of its aesthetic value.
{"title":"Art Is Its Own Reward","authors":"S. Lacey, K. Sathian","doi":"10.1093/oso/9780197513620.003.0023","DOIUrl":"https://doi.org/10.1093/oso/9780197513620.003.0023","url":null,"abstract":"The “art infusion effect” suggests that people evaluate products more positively when they are associated with art images than non-art images. Using functional magnetic resonance imaging during viewing of art and non-art images matched for content, the authors investigated whether artistic status alone could activate the reward circuit. Relative to non-art images, art images indeed activated reward-related regions including the ventral striatum. This activity was uncorrelated with response times, ratings of familiarity, or aesthetic preference for art images, suggesting that these variables were unrelated to the art-selective activations. Effective connectivity analyses showed that the ventral striatum was driven by visual cortical regions when viewing art images but not non-art images and was not driven by regions that correlated with aesthetic preference for either art or non-art images. These findings suggest that visual art involves activation of reward circuitry based on artistic status alone and independently of its aesthetic value.","PeriodicalId":335128,"journal":{"name":"Brain, Beauty, and Art","volume":"284 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":"134546409","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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