Visceromotor Roots of Aesthetic Evaluation of Pain in art: an fMRI Study.
Ontology highlight
ABSTRACT:
SUBMITTER: Ardizzi M
PROVIDER: S-EPMC8599194 | biostudies-literature |
REPOSITORIES: biostudies-literature
Similar Datasets
Project description:Most people encounter art images as digital reproductions on a computer screen instead of as originals in a museum or gallery. With the development of digital technologies, high-resolution artworks can be accessed anywhere and anytime by a large number of viewers. Since these digital images depict the same content and are attributed to the same artist as the original, it is often implicitly assumed that their aesthetic evaluation will be similar. When it comes to the digital reproductions of art, however, it is also obvious that reproductions do differ from the originals in various aspects. Besides image quality, resolution, and format, the most obvious change is in the representation of color. The effects of subjectively varying surface-level image features on art evaluation have not been clearly assessed. To address this gap, we compare the evaluation of digital reproductions of 16 expressionist and impressionist paintings manipulated to have a high color saturation vs. a saturation similar to the original. We also investigate the impact of viewing time (100 ms vs. unrestricted viewing time) and expertise (art experts vs. laypersons), two other aspects that may impact the perception of art in online contexts. Moreover, we link these dimensions to a recent model of aesthetic experience [the Vienna Integrated Model of Top-Down and Bottom-Up Processes in Art Perception (VIMAP)]. Results suggest that color saturation does not exert a major influence on liking. Cognitive and emotional aspects (interest, confusion, surprise, and boredom), however, are affected - to different extents for experts and laypersons. For laypersons, the increase in color saturation led to more positive assessments of an artwork, whereas it resulted in increased confusion for art experts. This insight is particularly important when it comes to reproducing artworks digitally. Depending on the intended use, increasing or decreasing the color saturation of the digitally reproduced image might be most appropriate. We conclude with a discussion of these findings and address the question of why empirical aesthetics requires more precise dimensions to better understand the subtle processes that take place in the perception of today's digitally reproduced art environment.
| S-EPMC7759521 | biostudies-literature
Project description:Although the role of aesthetics and aesthetic education in everyday life was discussed as early as the ancient philosophers, the psychological mechanisms shaping the aesthetic quotient have hardly been investigated by empirical studies. The aim of this study was to examine the direct relationship between experience and aesthetic competence, and the mediating role of need for cognition. The study involved 201 Polish adults, aged 18 to 76 (M = 26.40; SD = 11.89), 65% of whom were women. The respondents completed anonymous questionnaires on an online platform. The surveys included a metric, the Aesthetic Competence Scale (ACS), the Aesthetic Experience Questionnaire (AEQ) and the Need for Cognition Scale (NCS). A positive correlation coefficient was obtained between all three variables studied, with need for cognition acting as a mediator in the relationship between experience and aesthetic competence. The findings indicate that individuals reporting intense aesthetic experiences have a higher aesthetic competence if this relationship is mediated by a high need for cognitive effort.
| S-EPMC10858861 | biostudies-literature
Project description:The brain response to conceptual art was studied with mobile electroencephalography (EEG) to examine the neural basis of aesthetic experiences. In contrast to most studies of perceptual phenomena, participants were moving and thinking freely as they viewed the exhibit The Boundary of Life is Quietly Crossed by Dario Robleto at the Menil Collection-Houston. The brain activity of over 400 subjects was recorded using dry-electrode and one reference gel-based EEG systems over a period of 3 months. Here, we report initial findings based on the reference system. EEG segments corresponding to each art piece were grouped into one of three classes (complex, moderate, and baseline) based on analysis of a digital image of each piece. Time, frequency, and wavelet features extracted from EEG were used to classify patterns associated with viewing art, and ranked based on their relevance for classification. The maximum classification accuracy was 55% (chance = 33%) with delta and gamma features the most relevant for classification. Functional analysis revealed a significant increase in connection strength in localized brain networks while subjects viewed the most aesthetically pleasing art compared to viewing a blank wall. The direction of signal flow showed early recruitment of broad posterior areas followed by focal anterior activation. Significant differences in the strength of connections were also observed across age and gender. This work provides evidence that EEG, deployed on freely behaving subjects, can detect selective signal flow in neural networks, identify significant differences between subject groups, and report with greater-than-chance accuracy the complexity of a subject's visual percept of aesthetically pleasing art. Our approach, which allows acquisition of neural activity "in action and context," could lead to understanding of how the brain integrates sensory input and its ongoing internal state to produce the phenomenon which we term aesthetic experience.
| S-EPMC4649259 | biostudies-literature
Project description:To test the hypothesis that pleasure from artistic music is intellectual while that from popular music is physiological, this study investigated the different functional mechanisms between aesthetic appreciation of artistic and popular music using fMRI. 18 male non-musicians were scanned while they performed an aesthetic rating task for excerpts of artistic music, popular music and musical notes playing and singing (control). The rating scores of artistic and popular music excerpts were both significantly higher than that of control materials while the scores of them were not different. The fMRI results showed both artistic and popular conditions activated the VS and vmPFC, compared with control condition. When contrasted popular and artistic condition directly, we found popular music activated right putamen, while artistic music activated right mPFC. By parametric analysis, we found the activation of right putamen tracked the aesthetic ratings of popular music, whereas the BOLD signal in right mPFC tracked the aesthetic ratings of artistic music. These results indicate the reward induced by popular music is closer to a primary reward while that induced by artistic music is closer to a secondary reward. We also found artistic music activated ToM areas, including PCC/PC, arMFC and TPJ, when compared with popular music. And these areas also tracked aesthetic ratings of artistic music but not those of popular music. These results imply that the pleasure from former comes from cognitive empathy. In conclusion, this study gives clear neuronal evidences supporting the view that artistic music is of intelligence and social cognition involved while the popular music is of physiology.
| S-EPMC5096663 | biostudies-literature
Project description:Although it has been proposed that schizophrenia is characterized by impaired empathy, several recent studies found intact neural responses on tasks measuring the affective subdomain of empathy. This study further examined affective empathy in 21 schizophrenia outpatients and 21 healthy controls using a validated pain empathy paradigm with two components: (i) observing videos of people described as medical patients who were receiving a painful sound stimulation treatment; (ii) listening to the painful sounds (to create regions of interest). The observing videos component incorporated experimental manipulations of perspective taking (instructions to imagine 'Self' vs 'Other' experiencing pain) and cognitive appraisal (information about whether treatment was 'Effective' vs 'Not Effective'). When considering activation across experimental conditions, both groups showed similar dorsal anterior cingulate cortex (dACC) and anterior insula (AI) activation while merely observing others in pain. However, there were group differences associated with perspective taking: controls showed relatively greater dACC and AI activation for the Self vs Other contrast whereas patients showed relatively greater activation in these and additional regions for the Other vs Self contrast. Although patients demonstrated grossly intact neural activity while observing others in pain, they showed more subtle abnormalities when required to toggle between imagining themselves vs others experiencing pain.
| S-EPMC4847698 | biostudies-literature
Project description:The aim of this study was to assess on videographs the intra- and inter-rater reproducibility of the Smile Esthetic Index (SEI) that has been previously validated on photographs. Smile videographs were obtained using a smartphone associated with the Smile Lite MDP mounted on a tripod. They were then randomized and evaluated twice consecutively at a 1-week interval by three periodontists according to the SEI based on 10 variables. Cohen's Kappa and Fleiss' Kappa tests were performed to measure intra- and inter-rater agreement. Sixty-five smile videographs of 24 men and 41 women (mean age 33 ± 11.3 years) were scored. A mean intra-rater agreement of 0.68 (0.64-0.73) was obtained, representing substantial agreement. The inter-rater agreement calculated for each variable ranged from 0.31 for the variable "absence of visible excessive gingiva" to 0.90 for the variable "absence of diastema and/or missing inter-dental papilla." Within the limits of this study, we have demonstrated that it was possible to use videographs to reproducibly evaluate an aesthetic score (SEI) previously validated on photographs.
| S-EPMC9139191 | biostudies-literature
Project description:BackgroundAesthetic experiences elicit a wide range of positive emotions and have a positive impact on various health outcomes. In this context, savoring refers to a cognitive form of emotion regulation used to maintain and extend positive emotional experiences and is considered to contribute to health and well-being. Chronic pain has been linked to reduced reward-seeking behavior. This is the first study to investigate the relationship between self-reported chronic pain and savoring.MethodsWe conducted an anonymous cross-sectional survey in a large non-clinical sample (opera, theater, and cabaret visitors; n = 322). The variables were assessed with a two-item-questionnaire.ResultsSelf-reported chronic pain was significantly negatively correlated with savoring (r = -.547).ConclusionAltogether, this result helps to develop a better understanding of the effects of chronic pain in humans and to shed light on state-dependent differences in aesthetic experiences.
| S-EPMC8589147 | biostudies-literature
Project description:The aim of our research was to investigate the influence of the situational context of presenting contemporary critical artworks (in an art gallery vs in a laboratory setting) and the way in which one is acquainted with contextual information, i.e. a curatorial description (reading it on one's own vs listening to it vs a lack of curatorial information), on the reception of critical art. All experimental stimuli were exemplars of contemporary art which raise current controversial social and political issues. Non-experts in the field of art were asked to rate their emotional reactions on non-verbal scales and estimate their liking and understanding of the artworks. As predicted, the art gallery context increased both the experience of aesthetic emotions-in terms of valence, arousal, subjective significance, and dominance and aesthetic judgements-in terms of liking. Thus, for critical art (i.e. current artworks which critically address serious, up-to-date issues) the situational context of the gallery increased the aesthetic experience-which is in line with previous studies on the gallery (or museum) effect. Curatorial information increased understanding, so non-experts seem to need interpretative guidance in the reception of critical art. Subjective significance was higher in the reading of curatorial information condition than the listening to curatorial information condition or the control condition (a lack of curatorial information). It seems, therefore, that art non-experts have a better understanding of critical art after being exposed to the curatorial description, but this does not result in an increase in liking and aesthetic emotions. Probably this is because the curatorial description allows one to grasp the difficult, often unpleasant issue addressed by critical art.
| S-EPMC8162635 | biostudies-literature
Project description:Aesthetics has been characterized as a triadic interaction of perceptual, emotional, and conceptual neural systems (e.g., Chatterjee & Vartanian, 2014). There has been much empirical effort to identify the visual features that contribute to the perceptual component of this triad (e.g., Mather, 2020). Here, we measured infants' visual preferences and adults' aesthetic preferences for 40 of van Gogh's landscape paintings and investigated the contribution of the chromatic and spatial image statistics of the art to infants' and adults' responses. We found that infants' and adults' responses were significantly related: infants looked longer at the art that the adults found more pleasant. We also found that our combination of chromatic and spatial image statistics could account for around two thirds of the variance in infant looking and adult pleasantness ratings. The amount of variation in the luminance and saturation of the art's pixels contributed to both infants' visual preferences and adults' aesthetic preferences, potentially identifying two "perceptual primitives" of aesthetics that can be traced back to early sensory biases in infancy. We also identified important differences in the types of image statistics that predict infants' and adults' responses. We discuss the findings in relation to theories of aesthetics, natural scene statistics, and infant vision and perception.
| S-EPMC10399602 | biostudies-literature
Project description:Art is a promising pathway to raise emotional engagement with nature, while enabling an indirect exposure to nature through aesthetic experience. However, the precise relationships between aesthetic experiences of art and experiences of nature remain unclear. The aim of this observational study is to highlight the effect of nature experiences on the aesthetic reception art, based on Early Modern paintings (16th-18th century). By focusing on marine ecosystems, that are difficult to directly interact with, the results presented are intended to explore whether marine activities and fish consumption affect the aesthetic reception of artworks depicting marine biodiversity. A photo-questionnaire survey based on four paintings has been conducted with 332 French participants with a diverse range of marine practices, fish consumption and artistic sensitivity. Fish consumption and value attributed to fish as food had a significant positive impact on the aesthetic reception, suggesting that taste and food consumption could be considered as a relevant nature aesthetic experience that elicits affective and emotional responses. Results also showed an indirect effect of fishing and diving on the aesthetic reception of paintings whose iconography relates with the observers' experiences. These findings are of particular interest in both environmental psychology and ecological mediation through art. This study brings evidences of the connection between art and nature experiences, and that art could be an innovative way of experiencing nature. Finally, this study also highlights the need to broaden the scope of nature experiences, for instance by including food.
| S-EPMC11257337 | biostudies-literature