Brain, beauty, and art: essays bringing neuroaesthetics into focus
"When I first started to think about the neural basis of aesthetic experiences in the late 1990s, little was written on the topic. Unlike other domains of psychology, such as attention, or perception, or memory, aesthetics had not gained purchase in cognitive neuroscience. In fact, aesthetics w...
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| Sprache: | English |
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New York, NY
Oxford University Press
[2022]
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| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | "When I first started to think about the neural basis of aesthetic experiences in the late 1990s, little was written on the topic. Unlike other domains of psychology, such as attention, or perception, or memory, aesthetics had not gained purchase in cognitive neuroscience. In fact, aesthetics was barely visible in psychology itself despite being rooted in Fechner's writings over a hundred years earlier. In 1999, papers by Zeki (1999) and Ramachandran and Hirstein (1999) were initial forays into scientific aesthetics by established neuroscientists. While undeniably important as initial markers for the field, their papers were but a first step. They were speculative and did not offer a framework for a systematic research program. Scholars in the humanities latched on to these initial papers, in ways that were detrimental to the field. For the most part, they ignored subsequent careful experimental work done by neuroscientists, as if neuroaesthetics began and ended in 1999 (Chatterjee, 2011). Missing in early discussions was a basic question: what would a framework that could guide experimental progress in the neuroscience of aesthetics entail?"-- |
| Beschreibung: | XXI, 257 Seiten Illustrationen, Diagramme 24 cm |
| ISBN: | 9780197513620 |
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| 520 | 3 | |a "When I first started to think about the neural basis of aesthetic experiences in the late 1990s, little was written on the topic. Unlike other domains of psychology, such as attention, or perception, or memory, aesthetics had not gained purchase in cognitive neuroscience. In fact, aesthetics was barely visible in psychology itself despite being rooted in Fechner's writings over a hundred years earlier. In 1999, papers by Zeki (1999) and Ramachandran and Hirstein (1999) were initial forays into scientific aesthetics by established neuroscientists. While undeniably important as initial markers for the field, their papers were but a first step. They were speculative and did not offer a framework for a systematic research program. Scholars in the humanities latched on to these initial papers, in ways that were detrimental to the field. For the most part, they ignored subsequent careful experimental work done by neuroscientists, as if neuroaesthetics began and ended in 1999 (Chatterjee, 2011). Missing in early discussions was a basic question: what would a framework that could guide experimental progress in the neuroscience of aesthetics entail?"-- | |
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Contents Prologue: Where Have We Been, and Where Are We Now? Anjan Chatterjee and Eileen R. Cardillo Contributors xi xvii SECTION I FRAMEWORKS 1. An Early Framework for a Cognitive Neuroscience of Visual Aesthetics Anjan Chatterjee 3 2. Bringing It All Together: Neurological and Neuroimaging Evidence of the Neural Underpinnings of Visual Aesthetics Marcos Nadal and Camilo J. Cela-Conde 3. But, What Actually Happens When We Engage with “Art”? Matthew Pelowski and Helmut Leder 8 13 4. Naturalizing Aesthetics Steven Brown 18 5. Moving Toward Emotions in the Aesthetic Experience Cinzia Di Dio and Vittorio Gallese 22 6. The Aesthetic Triad Oshin Vartanian and Anjan Chatterjee 27 7. How Neuroimaging Is Transforming Our Understanding of Aesthetic Taste Martin Skov 8. The Cognitive Neuroscience of Aesthetic Experience Marcos Nadal and Marcus Pearce 31 36 SECTION II BEAUTY 9. Facial Beauty and the Medial Orbitofrontal Cortex John P. O’Doherty and Raymond J. Dolan 43
VI CONTENTS 10. Beautiful People in the Brain of the Beholder 48 Anjan Chatterjee 11. The Mark of Villainy: The Connection Between Appearance and Perceived Morality 52 Franziska Hartung 12. A Quest for Beauty 56 Thomas Jacobsen 13. Scene Preferences, Aesthetic Appeal, and Curiosity: Revisiting the Neurobiology of the Infovore 61 Edward A. Vessel, Xiaomin Yue, and Irving Biederman 14. Kinds of Beauty and the Prefrontal Cortex 66 Teresa Pegors 15. Expertise and Aesthetic Liking 70 Martin Skov and Ulrich Kirk 16. Social Meaning Brings Beauty: Neural Response to the Beauty of Abstract Chinese Characters 75 Xianyou He and Wei Zhang SECTION III ART 17. The Contributions of Emotion and Reward to Aesthetic Judgment of Visual Art 83 Oshin Vartanian 18. Embodiment and the Aesthetic Experience of Images 88 Vittorio Gallese, David Freedberg and Maria Alessandra Umiltà 19. The Role of Left Dorsolateral Prefrontal Cortices in Aesthetic Valuation 93 Enric Munar and Camilo J. Cela-Conde 20. Noninvasive Brain Stimulation of the Dorsolateral Prefrontal Cortex During Aesthetic Appreciation 97 Marcos Nadal, Zaira Cattaneo, and Camilo J. Cela-Conde 21. Is Artistic Composition in Abstract Art Detected Automatically? Claudia Menzel, Gyula Kovács, Gregor U. Hayn-Leichsenring, and Christoph Redies 102
CONTENTS 22. The Contribution of Visual Area V5 to the Perception of Implied Motion in Art and Its Appreciation Marcos Nadal and Zaira Cattaneo Vii 107 23. Art Is Its Own Reward Simon Lacey and K. Sathian 112 24. Imaging the Subjective Edward A. Vessel and G. Gabrielle Starr 117 25. Cultural Neuroaesthetics of Delicate Sadness Induced by Noh Masks Naoyuki Osaka 122 26. Toward a Computational Understanding of Neuroaesthetics Kiyohito Iigaya and John P. O’Doherty 127 27. Artists, Artworks, Aesthetics, Cognition William P. Seeley 132 28. Aesthetic Liking Is Not Only Driven by Object Properties, but Also by Your Expectations Martin Skov and Ulrich Kirk 137 29. Finding Mutual Interest Between Neuroscience and Aesthetics: A Brush with Reality? Andrew J. Parker 142 30. What Can We Learn About Art from People with Neurological Disease? Anjan Chatterjee 147 SECTION IV MUSIC 31. Chills, Bets, and Dopamine:A Journey into Music Reward Laura Feneri, Jordi Riba, Robert Zatone, and Antoni Rodriguez-Pornells 32. Why Does Music Evoke Strong Emotions? Testing the Endogenous Opioid Hypothesis Daniel J. Levitin and Lindsay A. Fleming 33. Music in All Its Beauty: Adopting the Naturalistic Paradigm to Uncover Brain Processes During the Aesthetic Musical Experience Elvira Brattico and Vinoo Alluri 155 161 166
viii CONTENTS 34. Investigating Musical Emotions in People with Unilateral Brain Damage 170 Amy M. Belfi, Agathe Pralus, Catherine Hirel, Daniel Tranel, Barbara Tūlrųann, and Anne Caclin SECTION V LANGUAGE AND LITERATURE 35. The Neurocognitive Poetics Model of Literary Reading 10 Years After 177 Arthur M. Jacobs 36. The Power of Poetry 182 Eugen Wassiliwizky and Winfried Menninghaus 37. Pictograph Portrays What It Is: Neural Response to the Beauty of Concrete Chinese Characters 188 Xianyou He and Wei Zhang SECTION VI DANCE 38. Movement, Synchronization, and Partnering in Dance 195 Steven Brown 39. Dance, Expertise, and Sensorimotor Aesthetics 199 Beatriz Calvo-Merino 40. An Eye for the Impossible: Exploring the Attraction of Physically Impressive Dance Movements 203 Emily S. Cross 41. The Mind, the Brain, and the Moving Body: Dance as a Topic in Cognitive Neuroscience 208 Bettina Biasing and Beatriz Calvo-Merino 42. Training Effects on Affective Perception of Body Movements 213 Louise P. Kirsch and Emily S. Cross SECTION VII ARCHITECTURE 43. The Neuroaesthetics of Architecture 221 Oshin Vartanian 44. Architectural Styles as Subordinate Scene Categories DirkB. Walther 225
CONTENTS 45. Architectural Affordances: Linking Action, Perception, and Cognition Zakaria Djebbara and Klaus Gramann ЇХ 230 46. Architectural Design and the Mind Alex Coburn 235 Epilogue: Where Are We Now, and Where Are We Going? Anjan Chatterjee and Eileen R. Cardillo Index 241 247 |
| adam_txt |
Contents Prologue: Where Have We Been, and Where Are We Now? Anjan Chatterjee and Eileen R. Cardillo Contributors xi xvii SECTION I FRAMEWORKS 1. An Early Framework for a Cognitive Neuroscience of Visual Aesthetics Anjan Chatterjee 3 2. Bringing It All Together: Neurological and Neuroimaging Evidence of the Neural Underpinnings of Visual Aesthetics Marcos Nadal and Camilo J. Cela-Conde 3. But, What Actually Happens When We Engage with “Art”? Matthew Pelowski and Helmut Leder 8 13 4. Naturalizing Aesthetics Steven Brown 18 5. Moving Toward Emotions in the Aesthetic Experience Cinzia Di Dio and Vittorio Gallese 22 6. The Aesthetic Triad Oshin Vartanian and Anjan Chatterjee 27 7. How Neuroimaging Is Transforming Our Understanding of Aesthetic Taste Martin Skov 8. The Cognitive Neuroscience of Aesthetic Experience Marcos Nadal and Marcus Pearce 31 36 SECTION II BEAUTY 9. Facial Beauty and the Medial Orbitofrontal Cortex John P. O’Doherty and Raymond J. Dolan 43
VI CONTENTS 10. Beautiful People in the Brain of the Beholder 48 Anjan Chatterjee 11. The Mark of Villainy: The Connection Between Appearance and Perceived Morality 52 Franziska Hartung 12. A Quest for Beauty 56 Thomas Jacobsen 13. Scene Preferences, Aesthetic Appeal, and Curiosity: Revisiting the Neurobiology of the Infovore 61 Edward A. Vessel, Xiaomin Yue, and Irving Biederman 14. Kinds of Beauty and the Prefrontal Cortex 66 Teresa Pegors 15. Expertise and Aesthetic Liking 70 Martin Skov and Ulrich Kirk 16. Social Meaning Brings Beauty: Neural Response to the Beauty of Abstract Chinese Characters 75 Xianyou He and Wei Zhang SECTION III ART 17. The Contributions of Emotion and Reward to Aesthetic Judgment of Visual Art 83 Oshin Vartanian 18. Embodiment and the Aesthetic Experience of Images 88 Vittorio Gallese, David Freedberg and Maria Alessandra Umiltà 19. The Role of Left Dorsolateral Prefrontal Cortices in Aesthetic Valuation 93 Enric Munar and Camilo J. Cela-Conde 20. Noninvasive Brain Stimulation of the Dorsolateral Prefrontal Cortex During Aesthetic Appreciation 97 Marcos Nadal, Zaira Cattaneo, and Camilo J. Cela-Conde 21. Is Artistic Composition in Abstract Art Detected Automatically? Claudia Menzel, Gyula Kovács, Gregor U. Hayn-Leichsenring, and Christoph Redies 102
CONTENTS 22. The Contribution of Visual Area V5 to the Perception of Implied Motion in Art and Its Appreciation Marcos Nadal and Zaira Cattaneo Vii 107 23. Art Is Its Own Reward Simon Lacey and K. Sathian 112 24. Imaging the Subjective Edward A. Vessel and G. Gabrielle Starr 117 25. Cultural Neuroaesthetics of Delicate Sadness Induced by Noh Masks Naoyuki Osaka 122 26. Toward a Computational Understanding of Neuroaesthetics Kiyohito Iigaya and John P. O’Doherty 127 27. Artists, Artworks, Aesthetics, Cognition William P. Seeley 132 28. Aesthetic Liking Is Not Only Driven by Object Properties, but Also by Your Expectations Martin Skov and Ulrich Kirk 137 29. Finding Mutual Interest Between Neuroscience and Aesthetics: A Brush with Reality? Andrew J. Parker 142 30. What Can We Learn About Art from People with Neurological Disease? Anjan Chatterjee 147 SECTION IV MUSIC 31. Chills, Bets, and Dopamine:A Journey into Music Reward Laura Feneri, Jordi Riba, Robert Zatone, and Antoni Rodriguez-Pornells 32. Why Does Music Evoke Strong Emotions? Testing the Endogenous Opioid Hypothesis Daniel J. Levitin and Lindsay A. Fleming 33. Music in All Its Beauty: Adopting the Naturalistic Paradigm to Uncover Brain Processes During the Aesthetic Musical Experience Elvira Brattico and Vinoo Alluri 155 161 166
viii CONTENTS 34. Investigating Musical Emotions in People with Unilateral Brain Damage 170 Amy M. Belfi, Agathe Pralus, Catherine Hirel, Daniel Tranel, Barbara Tūlrųann, and Anne Caclin SECTION V LANGUAGE AND LITERATURE 35. The Neurocognitive Poetics Model of Literary Reading 10 Years After 177 Arthur M. Jacobs 36. The Power of Poetry 182 Eugen Wassiliwizky and Winfried Menninghaus 37. Pictograph Portrays What It Is: Neural Response to the Beauty of Concrete Chinese Characters 188 Xianyou He and Wei Zhang SECTION VI DANCE 38. Movement, Synchronization, and Partnering in Dance 195 Steven Brown 39. Dance, Expertise, and Sensorimotor Aesthetics 199 Beatriz Calvo-Merino 40. An Eye for the Impossible: Exploring the Attraction of Physically Impressive Dance Movements 203 Emily S. Cross 41. The Mind, the Brain, and the Moving Body: Dance as a Topic in Cognitive Neuroscience 208 Bettina Biasing and Beatriz Calvo-Merino 42. Training Effects on Affective Perception of Body Movements 213 Louise P. Kirsch and Emily S. Cross SECTION VII ARCHITECTURE 43. The Neuroaesthetics of Architecture 221 Oshin Vartanian 44. Architectural Styles as Subordinate Scene Categories DirkB. Walther 225
CONTENTS 45. Architectural Affordances: Linking Action, Perception, and Cognition Zakaria Djebbara and Klaus Gramann ЇХ 230 46. Architectural Design and the Mind Alex Coburn 235 Epilogue: Where Are We Now, and Where Are We Going? Anjan Chatterjee and Eileen R. Cardillo Index 241 247 |
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| spelling | Brain, beauty, and art essays bringing neuroaesthetics into focus edited by Anjan Chatterjee and Eileen R. Cardillo New York, NY Oxford University Press [2022] © 2022 XXI, 257 Seiten Illustrationen, Diagramme 24 cm txt rdacontent n rdamedia nc rdacarrier Frameworks -- Beauty -- Art -- Music -- Dance -- Architecture "When I first started to think about the neural basis of aesthetic experiences in the late 1990s, little was written on the topic. Unlike other domains of psychology, such as attention, or perception, or memory, aesthetics had not gained purchase in cognitive neuroscience. In fact, aesthetics was barely visible in psychology itself despite being rooted in Fechner's writings over a hundred years earlier. In 1999, papers by Zeki (1999) and Ramachandran and Hirstein (1999) were initial forays into scientific aesthetics by established neuroscientists. While undeniably important as initial markers for the field, their papers were but a first step. They were speculative and did not offer a framework for a systematic research program. Scholars in the humanities latched on to these initial papers, in ways that were detrimental to the field. For the most part, they ignored subsequent careful experimental work done by neuroscientists, as if neuroaesthetics began and ended in 1999 (Chatterjee, 2011). Missing in early discussions was a basic question: what would a framework that could guide experimental progress in the neuroscience of aesthetics entail?"-- Neuroästhetik (DE-588)7676058-3 gnd rswk-swf Aesthetics / Psychological aspects Arts / Psychological aspects (DE-588)4143413-4 Aufsatzsammlung gnd-content Neuroästhetik (DE-588)7676058-3 s DE-604 Chatterjee, Anjan (DE-588)1026197279 edt Cardillo, Eileen R. (DE-588)1252503695 edt Erscheint auch als Online-Ausgabe 978-0-19-751365-1 Erscheint auch als Online-Ausgabe 978-0-19-751364-4 Erscheint auch als Online-Ausgabe 978-0-19-751363-7 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033091492&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
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| title | Brain, beauty, and art essays bringing neuroaesthetics into focus |
| title_auth | Brain, beauty, and art essays bringing neuroaesthetics into focus |
| title_exact_search | Brain, beauty, and art essays bringing neuroaesthetics into focus |
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| title_full | Brain, beauty, and art essays bringing neuroaesthetics into focus edited by Anjan Chatterjee and Eileen R. Cardillo |
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| topic_facet | Neuroästhetik Aufsatzsammlung |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033091492&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT chatterjeeanjan brainbeautyandartessaysbringingneuroaestheticsintofocus AT cardilloeileenr brainbeautyandartessaysbringingneuroaestheticsintofocus |