Using fMRI, a core evaluation mechanism was found for aesthetic judgments with add-on neural activities for moral and commercial judgments. We propose that aesthetic evaluations serve as a basic core mechanism implicitly for moral and commercial judgments.

The original left‐front perspective of portraits by Rembrandt was detected by Chinese students with a higher recognition rate as compared to the right‐front perspective or the mirror reversals of both perspectives. Oculomotor patterns indicated that the eye regions provided essential information for such implicit detection.

Faces and their aesthetic appreciation are a core element of social interaction. Although studies have been made on facial processing when looking at faces with different perspectives, a direct comparison of faces in the left to the right perspective is missing. Portraits in classical Western art indicate a preference of the left compared to the right perspective, but the neural underpinnings of such an asymmetry still have to be clarified. Using functional magnetic resonance imaging, the current study focuses on the processing of three-quarter faces seen with different perspectives. Seventeen participants were asked to passively look at photographs of six male and six female faces with a neutral expression; the photographs were taken from the left, right, and frontal perspectives while keeping their focus on the eyes. The results showed that specific brain areas were involved in processing the three-quarter faces in either symmetric or asymmetric ways. Viewing left and right three-quarter faces resulted in two mirror-like activations in the striate cortex corresponding to the symmetric layout of the left and right perspectives. Viewing the left face resulted additionally in an enhanced activation also in the left extrastriate cortex. The right perspective of male faces elicited a lower activation compared to other perspectives in face-selective areas of the brain. Our findings suggest that the preference of the left three-quarter face emerges already in the early visual pathway presumably prior to facial identification, emotional processing, and aesthetic appreciation. Our observations may have general importance in disentangling different neural components and processing stages in the spatiotemporal characteristics of artistic expressions.

Durations in the several seconds' range are cognitively accessible during active timing. Functional neuroimaging studies suggest the engagement of basal ganglia (BG) and supplementary motor area (SMA). However, their functional relevance and arrangement remain unclear because non-timing cognitive processes temporally coincide with the active timing. To examine the potential contamination by parallel processes, we introduced a sensory control and a motor control to the duration reproduction task. By comparing their hemodynamic functions, we decomposed the neural activities in multiple brain loci linked to different cognitive processes. Our results show a dissociation of two cortical neural circuits: the SMA for both active timing and motor preparation, followed by a prefrontal-parietal circuit related to duration working memory. We argue that these cortical processes represent duration as the content but at different levels of abstraction, while the subcortical structures including BG and thalamus provide the logistic basis of timing by coordinating temporal framework across brain structures.