Art, Aesthetics, and the Brain
Art, Aesthetics, and the Brain
Postdoc University Assistant
Professor of Human Physiology
Emeritus of Human Physiology
Director
Cite
Abstract
Humans have engaged in artistic and aesthetic activities since the appearance of our species. The expression of meaning using color, line, sound, rhythm, or movement constitutes a fundamental aspect of our species’ biological and cultural heritage. All known human societies have developed aesthetic systems that use diverse forms of visual representation, body art, music, literature, or performance to convey culturally important meaning. Art and aesthetics are, therefore, inherent constituents of the human mind, and contribute to our species’ identity, distinguishing it from its living and extinct relatives. Science faces the challenge of explaining the foundations of this trait and the way cultural processes nurture it into expression. How does the human brain bring about these sorts of behaviours? What neural processes underlie aesthetic appreciation? How does training modulate these processes? How are they impaired by brain lesions and neurodegenerative diseases? How did such neural underpinnings evolve? Are humans the only species capable of aesthetic appreciation, or are other species endowed with the rudiments of this capacity? Scientific aesthetics is today a thriving and respected research field. It has made substantial contributions to basic understanding of some of the unique features of the human mind, and to practical issues related to consumers’ decisions, judgments about others, and mate choice.
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Front Matter
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Section 1 Foundational issues
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1
Neuroculture: A new cultural revolution?
Francisco Mora
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2
Art, meaning, and aesthetics: The case for a cognitive neuroscience of art
William P. Seeley
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3
States, people, and contexts: Three psychological challenges for the neuroscience of aesthetics
Kirill Fayn andPaul J. Silvia
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4
Aesthetic appreciation: Convergence from experimental aesthetics and physiology
Helmut Leder and others
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5
The moving eye of the beholder: Eye tracking and the perception of paintings
Raphael Rosenberg andChristoph Klein
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1
Neuroculture: A new cultural revolution?
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Section 2 Cognitive neuroscience of visual aesthetics and art
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6
Neural mechanisms for evaluating the attractiveness of faces
Spas V. Getov andJoel S. Winston
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7
Indeterminate artworks and the human brain
Robert C. Pepperell andAlumit Ishai
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8
Contextual bias and insulation against bias during aesthetic rating: The roles of VMPFC and DLPFC in neural valuation
Ulrich Kirk andDavid Freedberg
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9
Neuroimaging studies of making aesthetic products
Oshin A. Vartanian
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6
Neural mechanisms for evaluating the attractiveness of faces
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Section 3 Cognitive neuroscience of dance
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10
Beautiful embodiment: The shaping of aesthetic preference by personal experience
Emily S. Cross
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11
Sensorimotor aesthetics: Neural correlates of aesthetic perception of dance
Beatriz Calvo-Merino
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12
Moving towards ecological validity in empirical aesthetics of dance
Julia F. Christensen andCorinne Jola
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10
Beautiful embodiment: The shaping of aesthetic preference by personal experience
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Section 4 Cognitive neuroscience of music
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13
Liking music: Genres, contextual factors, and individual differences
Kathleen A. Corrigall andE. Glenn Schellenberg
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14
Tension–resolution patterns as a key element of aesthetic experience: Psychological principles and underlying brain mechanisms
Moritz Lehne andStefan Koelsch
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15
From pleasure to liking and back: Bottom-up and top-down neural routes to the aesthetic enjoyment of music
Elvira Brattico
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16
Effects of Expertise on the Cognitive and Neural Processes Involved in Musical Appreciation
Marcus T. Pearce
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13
Liking music: Genres, contextual factors, and individual differences
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Section 5 Neuropsychology of Art and Aesthetics
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Section 6 The evolution of art, aesthetics, and the brain
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20
Towards a Comparative Approach to Empirical Aesthetics
Gesche Westphal-Fitch andW. Tecumseh Fitch
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21
Art and Brain Co-Evolution
Camilo J. Cela-Conde andFrancisco Ayala
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22
Art as a Human “Instinct-Like” behavior Emerging from the Exaptation of the Communication Processes
Luigi F. Agnati and others
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20
Towards a Comparative Approach to Empirical Aesthetics
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Section 7 Integrative approaches
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End Matter
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