Brain correlates of aesthetic judgment of beauty

Jacobsen, Thomas; Schubotz, Ricarda Ines; Höfel, Lea; Cramon, D. Yves von

doi:10.1016/j.neuroimage.2005.07.010

Cited by 486 publications

(458 citation statements)

References 54 publications

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“…We know of only one other neuroscientific study focussing on aesthetic processing, as opposed to aesthetic evaluation. Jacobsen et al (2006) contrasted activation during aesthetic judgement with activations during symmetry judgements of the same stimuli. However, this study faces the same criticism as other correlative fMRI designs.…”

Section: Interpretative and Methodological Issuesmentioning

confidence: 93%

“…For example, making aesthetic judgements may be more engaging and arousing than making symmetry judgements, which could explain the greater activation in attentional and limbic regions of cortex. Future studies might combine our TMS approach to aesthetic processing with the approach taken by Jacobsen et al (2006). A study applying TMS to target areas during both aesthetic and non-aesthetic control judgements about the same stimuli might distinguish brain areas contributing to visual perception in general, from those contributing to aesthetic processing in particular.…”

Section: Interpretative and Methodological Issuesmentioning

confidence: 99%

“…It has been suggested that aesthetic judgements are made in frontal regions (Jacobsen et al, 2006) that evaluate information provided by earlier stages of visual processing streams. By applying rTMS to two regions of the network that contribute differently to body perception (EBA and vPMC for local and configural processing, respectively; Urgesi et al, 2007), we could investigate how these two regions contribute to aesthetic perception.…”

Section: Two-route Model Of Body Processingmentioning

confidence: 99%

“…Specifically, neural correlates of aesthetic experience have been proposed in reward regions of the brain (i.e. orbitofrontal cortex) (Kawabata and Zeki, 2004;Vartanian and Goel, 2004), in emotional centres such as the amygdala (Di Dio et al, 2007), in specialised visual perceptual areas (Zeki and Lamb, 1994), in dorsolateral prefrontal regions associated with higher 'executive' functions such as monitoring (CelaConde et al, 2004) and with frontomedian regions underlying social and moral judgment (Jacobsen et al, 2006) (see Nadal et al, 2008 for a comprehensive review).…”

Section: Introductionmentioning

confidence: 99%

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Extrastriate body area underlies aesthetic evaluation of body stimuli

et al. 2010

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This is the accepted version of the paper.This version of the publication may differ from the final published version. Permanent repository link AbstractHumans appear to be the only animals to have developed the practice and culture of art. This practice presumably relies on special processing circuits within the human brain associated with a distinct subjective experience, termed aesthetic experience, and preferentially evoked by artistic stimuli. We assume that positive or negative aesthetic judgments are an important function of neuroaesthetic circuits. The localization of these circuits in the brain remains unclear, though neuroimaging studies have suggested several possible neural correlates of aesthetic preference. We applied repetitive transcranial magnetic stimulation (rTMS) over candidate brain areas to disrupt aesthetic processing while healthy volunteers made aesthetic preference judgments between pairs of dance postures, or control non-body stimuli. Based on evidence from visual body perception studies, we targeted the ventral premotor cortex (vPMC) and extrastriate body area (EBA), in the left and right hemispheres.rTMS over EBA reduced aesthetic sensitivity for body stimuli relative to rTMS over vPMC, while no such difference was found for non-body stimuli. We interpret our results within the framework of dual routes for visual body processing. rTMS over either EBA or vPMC reduced the contributions of the stimulated area to body processing, leaving processing more reliant on the unaffected route. Disruption of EBA reduces the local processing of the stimuli, and reduced observers' aesthetic sensitivity.Conversely, disruption of the global route via vPMC increased the relative contribution of the local route via EBA, and thus increased aesthetic sensitivity. In this way, we suggest a complementary contribution of both local and global routes to aesthetic processing.

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Section: Interpretative and Methodological Issuesmentioning

confidence: 93%

Section: Interpretative and Methodological Issuesmentioning

confidence: 99%

Section: Two-route Model Of Body Processingmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

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Extrastriate body area underlies aesthetic evaluation of body stimuli

et al. 2010

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“…What is clear so far is that more indepth inquiry into the aesthetic evaluation of artworks should turn toward investigation of the underlying physical properties and changes within the brain as it is solely this organ that is responsible for generating and evaluating aesthetic experience. For such reasons, in recent years, philosophers, physicists, engineers, and biologists who study the brain have increasingly been interested to a scientific approach to the study of aesthetics in a number of domains, giving rise to the emerging field of neuroaesthetics (e.g., Fritz et al 2009;Jacobsen et al 2006;Koelsch 2010;Limb and Braun 2008;Nadal et al 2008;Zaidel 2005;Zatorre et al 2007;Zeki 2000).…”

Section: Part Ii: Neuroaesthetics: a Neuroscientific Portrait Of Artmentioning

confidence: 99%

Neuroaesthetics and beyond: new horizons in applying the science of the brain to the art of dance

Cross

Ticini

2011

Phenom Cogn Sci

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Throughout history, dance has maintained a critical presence across all human cultures, defying barriers of class, race, and status. How dance has synergistically co-evolved with humans has fueled a rich debate on the function of art and the essence of aesthetic experience, engaging numerous artists, historians, philosophers, and scientists. While dance shares many features with other art forms, one attribute unique to dance is that it is most commonly expressed with the human body. Because of this, social scientists and neuroscientists are turning to dance and dancers to help answer questions of how the brain coordinates the body to perform complex, precise, and beautiful movements. In the present paper, we discuss how recent advances in neuroscientific methods provide the tools to advance our understanding of not only the cerebral phenomena associated with dance learning and observation but also the neural underpinnings of aesthetic appreciation associated with watching dance. We suggest that future work within the fields of dance neuroscience and neuroaesthetics have the potential to provide mutual benefits to both the scientific and artistic communities.

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Essentials of Dental Photography

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Brain correlates of aesthetic judgment of beauty

Cited by 486 publications

References 54 publications

Extrastriate body area underlies aesthetic evaluation of body stimuli

Extrastriate body area underlies aesthetic evaluation of body stimuli

Neuroaesthetics and beyond: new horizons in applying the science of the brain to the art of dance

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