The pleasure of art as a matter of fact Nadal, Marcos; Skov, Martin
Proceedings - Royal Society. Biological sciences/Proceedings - Royal Society. Biological Sciences,
03/2018, Letnik:
285, Številka:
1875
Journal Article
The experience of art emerges from the interaction of various cognitive and affective processes. The unfolding of these processes in time and their relation with viewing behavior, however, is still ...poorly understood. Here we examined the effect of context on the relation between the experience of art and viewing time, the most basic indicator of viewing behavior. Two groups of participants viewed an art exhibition in one of two contexts: one in the museum, the other in the laboratory. In both cases viewing time was recorded with a mobile eye tracking system. After freely viewing the exhibition, participants rated each artwork on liking, interest, understanding, and ambiguity scales. Our results show that participants in the museum context liked artworks more, found them more interesting, and viewed them longer than those in the laboratory. Analyses with mixed effects models revealed that aesthetic appreciation (compounding liking and interest), understanding, and ambiguity predicted viewing time for artworks and for their corresponding labels. The effect of aesthetic appreciation and ambiguity on viewing time was modulated by context: Whereas art appreciation tended to predict viewing time better in the laboratory than in museum context, the relation between ambiguity and viewing time was positive in the museum and negative in the laboratory context. Our results suggest that art museums foster an enduring and focused aesthetic experience and demonstrate that context modulates the relation between art experience and viewing behavior.
Celotno besedilo
Dostopno za:
DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, SIK, UILJ, UKNU, UL, UM, UPUK
Humans have engaged in artistic and aesthetic activities since the appearance of our species. Our ancestors have decorated their bodies, tools, and utensils for over 100,000 years. The expression of ...meaning using color, line, sound, rhythm, or movement, among other means, constitutes a fundamental aspect of our species’ biological and cultural heritage. Art and aesthetics, therefore, contribute to our species’ identity and distinguish it from its living and extinct relatives. Science is faced with the challenge of explaining the natural foundations of such a unique trait, and the way cultural processes nurture it into magnificent expressions, historically and ethnically unique. How do the human mind and brain bring about these sorts of behaviors? What psychological and neural processes underlie the appreciation of painting, music, and dance? How does training modulate these processes? Are humans the only species capable of aesthetic appreciation, or are other species endowed with the rudiments of this capacity? The Oxford Handbook of Empirical Aesthetics brings together leading experts in psychology, neuroimaging, art history, and philosophy to answer these questions. With sections on visual art, dance, music, and many other art forms and aesthetic phenomena, the breadth of this volume’s scope reflects the richness and variety of topics and methods currently used today by scientists to understand the way our mind and brain endow us with the faculty to produce and appreciate art and aesthetics.
Art museum attendance is rising steadily, unchallenged by online alternatives. However, the psychological value of the real museum experience remains unclear because the experience of art in the ...museum and other contexts has not been compared. Here we examined the appreciation and memory of an art exhibition when viewed in a museum or as a computer simulated version in the laboratory. In line with the postulates of situated cognition, we show that the experience of art relies on organizing resources present in the environment. Specifically, artworks were found more arousing, positive, interesting and liked more in the museum than in the laboratory. Moreover, participants who saw the exhibition in the museum later recalled more artworks and used spatial layout cues for retrieval. Thus, encountering real art in the museum enhances cognitive and affective processes involved in the appreciation of art and enriches information encoded in long-term memory.
•We examine the effect of context (museum/laboratory) on art experience and memory.•Art experience is enhanced in the museum.•Art in the museum is found more interesting, positive, arousing, and liked more.•Memory for art is better in the museum than in the laboratory.•Improved recall in the museum is predicted by the use of contextual cues.
Most research on people's representation of space has focused on spatial appraisal and navigation. But there is more to space besides navigation and assessment: people have different emotional ...experiences at different places, which create emotionally tinged representations of space. Little is known about the emotional representation of space and the factors that shape it. The purpose of this study was to develop a graphic methodology to study the emotional representation of space and some of the environmental features (non-natural vs. natural) and personal features (affective state and interoceptive sensibility) that modulate it. We gave participants blank maps of the region where they lived and asked them to apply shade where they had happy/sad memories, and where they wanted to go after Covid-19 lockdown. Participants also completed self-reports on affective state and interoceptive sensibility. By adapting methods for analyzing neuroimaging data, we examined shaded pixels to quantify where and how strong emotions are represented in space. The results revealed that happy memories were consistently associated with similar spatial locations. Yet, this mapping response varied as a function of participants' affective state and interoceptive sensibility. Certain regions were associated with happier memories in participants whose affective state was more positive and interoceptive sensibility was higher. The maps of happy memories, desired locations to visit after lockdown, and regions where participants recalled happier memories as a function of positive affect and interoceptive sensibility overlayed significantly with natural environments. These results suggest that people's emotional representations of their environment are shaped by the naturalness of places, and by their affective state and interoceptive sensibility.
That people find curved contours and lines more pleasurable than straight ones is a recurrent observation in the aesthetic literature. Although such observation has been tested sporadically ...throughout the history of scientific psychology, only during the last decade has it been the object of systematic research. Recent studies lend support to the idea that human preference for curved contours is biologically determined. However, it has also been argued that this preference is a cultural phenomenon. In this article, we review the available evidence, together with different attempts to explain the nature of preference for curvature: sensoriomotor-based and valuation-based approaches. We also argue that the lack of a unifying framework and clearly defined concepts might be undermining our efforts towards a better understanding of the nature of preference for curvature. Finally, we point to a series of unresolved matters as the starting point to further develop a consistent research program.
On average, we urban dwellers spend about 90% of our time indoors, and share the intuition that the physical features of the places we live and work in influence how we feel and act. However, there ...is surprisingly little research on how architecture impacts behavior, much less on how it influences brain function. To begin closing this gap, we conducted a functional magnetic resonance imaging study to examine how systematic variation in contour impacts aesthetic judgments and approach-avoidance decisions, outcome measures of interest to both architects and users of spaces alike. As predicted, participants were more likely to judge spaces as beautiful if they were curvilinear than rectilinear. Neuroanatomically, when contemplating beauty, curvilinear contour activated the anterior cingulate cortex exclusively, a region strongly responsive to the reward properties and emotional salience of objects. Complementing this finding, pleasantness—the valence dimension of the affect circumplex—accounted for nearly 60% of the variance in beauty ratings. Furthermore, activation in a distributed brain network known to underlie the aesthetic evaluation of different types of visual stimuli covaried with beauty ratings. In contrast, contour did not affect approach-avoidance decisions, although curvilinear spaces activated the visual cortex. The results suggest that the well-established effect of contour on aesthetic preference can be extended to architecture. Furthermore, the combination of our behavioral and neural evidence underscores the role of emotion in our preference for curvilinear objects in this domain.
People spend considerable time within built environments. In this study, we tested two hypotheses about the relationship between people and built environments. First, aesthetic responses to ...architectural interiors reduce to a few key psychological dimensions that are sensitive to design features. Second, these psychological dimensions evoke specific neural signatures. In Experiment 1, participants (n = 798) rated 200 images of architectural interiors on 16 aesthetic response measures. Using Psychometric Network Analysis (PNA) and Principal Components Analysis (PCA), we identified three components that explained 90% of the variance in ratings: coherence (ease with which one organizes and comprehends a scene), fascination (a scene’s informational richness and generated interest), and hominess (extent to which a scene reflects a personal space). Whereas coherence and fascination are well-established dimensions in response to natural scenes and visual art, hominess emerged as a new dimension related to architectural interiors. In Experiment 2 (n = 614), the PCA results were replicated in an independent sample, indicating the robustness of these three dimensions. In Experiment 3, we reanalyzed data from an fMRI study in which participants (n = 18) made beauty judgments and approach-avoidance decisions when viewing the same images. Parametric analyses demonstrated that, regardless of task, the degree of fascination covaried with neural activity in the right lingual gyrus. In contrast, coherence covaried with neural activity in the left inferior occipital gyrus only when participants judged beauty, whereas hominess covaried with neural activity in the left cuneus only when they made approach-avoidance decisions. Importantly, this neural activation did not covary in relation to global image properties including self-similarity and complexity scores. These results suggest that the visual brain harbors sensitivities to psychological dimensions of coherence, fascination, and hominess in the context of architectural interiors. Furthermore, valuation of architectural processing in visual cortices varies by dimension and task.
We examined the effects of ceiling height and perceived enclosure—defined as perceived visual and locomotive permeability—on aesthetic judgments and approach-avoidance decisions in architectural ...design. Furthermore, to gain traction on the mechanisms driving the observed effects, we employed functional magnetic resonance imaging (fMRI) to explore their neural correlates. Rooms with higher ceilings were more likely to be judged as beautiful, and activated structures involved in visuospatial exploration and attention in the dorsal stream. Open rooms were more likely to be judged as beautiful, and activated structures underlying perceived visual motion. Additionally, enclosed rooms were more likely to elicit exit decisions and activated the anterior midcingulate cortex (aMCC)—the region within the cingulate gyrus with direct projections from the amygdala. This suggests that a reduction in perceived visual and locomotive permeability characteristic of enclosed spaces might elicit an emotional reaction that accompanies exit decisions.
•Rooms with higher ceilings were more likely to be judged as beautiful than rooms with lower ceilings.•Rooms with higher ceilings activated visuospatial exploration structures in the dorsal stream.•Open rooms were more likely to be judged as beautiful than enclosed rooms.•Open rooms activated structures underlying perceived visual motion.•Enclosed rooms elicited exit decisions and activated a cingulate region connected with amygdala.
...it fails to “capture or appreciate the social, cultural, or historical situatedness of the art-object or the person whose experience is being studied.” There is no question that we know little ...about the social aspect of art behavior and its underlying psychological and neurobiological mechanisms. Because art is often a transient phenomenon created as function of a social act, as in music, dance, or performance, the features of collective settings surely modulate cognition and affect. ...contrary to Sherman and Morrissey's (2017) claims, researchers have adapted their experimental paradigms to social art contexts, including museums, concert halls, and theaters (e.g., Tschacher et al., 2012; Egermann et al., 2013; Jola and Grosbras, 2013; Brieber et al., 2014; Vicary et al., 2017).
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