The neural time course of art perception: An ERP study on the processing of style versus content in art

Augustin, Marc; Defranceschi, Birgit; Fuchs, Helene; Carbon, Claus-Christian; Hutzler, Florian

doi:10.1016/j.neuropsychologia.2011.03.038

Cited by 55 publications

(43 citation statements)

References 46 publications

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“…Implicit measures using oculo- and pupillometric or brain-electrical methods are also increasingly used (e.g., Pynte et al, 1996; Kuchinke et al, 2005, 2009; Võ et al, 2008; Augustin et al, 2011; Scheepers et al, 2013). Words of lower frequency or predictability attract longer fixations and more regressions (Rayner, 1998) and since foregrounded words usually fulfill these criteria, eye tracking is a promising method for neurocognitive poetics.…”

Section: Assessing Fg Features and Esthetic Processes (Jakobson’s Poementioning

confidence: 99%

Neurocognitive poetics: methods and models for investigating the neuronal and cognitive-affective bases of literature reception

Jacobs

2015

Front. Hum. Neurosci.

201

218

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A long tradition of research including classical rhetoric, esthetics and poetics theory, formalism and structuralism, as well as current perspectives in (neuro)cognitive poetics has investigated structural and functional aspects of literature reception. Despite a wealth of literature published in specialized journals like Poetics, however, still little is known about how the brain processes and creates literary and poetic texts. Still, such stimulus material might be suited better than other genres for demonstrating the complexities with which our brain constructs the world in and around us, because it unifies thought and language, music and imagery in a clear, manageable way, most often with play, pleasure, and emotion (Schrott and Jacobs, 2011). In this paper, I discuss methods and models for investigating the neuronal and cognitive-affective bases of literary reading together with pertinent results from studies on poetics, text processing, emotion, or neuroaesthetics, and outline current challenges and future perspectives.

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Section: Assessing Fg Features and Esthetic Processes (Jakobson’s Poementioning

confidence: 99%

Neurocognitive poetics: methods and models for investigating the neuronal and cognitive-affective bases of literature reception

Jacobs

2015

Front. Hum. Neurosci.

201

218

View full text Add to dashboard Cite

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“…Augustin and her colleagues (Augustin et al 2008(Augustin et al , 2011) conducted a series of experiments designed to investigate the time course and interrelations between content-and style-related processing and to determine when and how these characteristics of paintings play a role during the initial perception of an artwork. Stimuli in their first investigation (Augustin et al 2008) consisted of 48 reproductions of paintings representing four contents, or motifs, (house, flowers, tree/trees, and a male person) fully crossed with four individual artist styles (works by the artists Cézanne, Chagall, Kirchner, and van Gogh).…”

Section: Categorization Of a Painting's Content And Style At First Glmentioning

confidence: 99%

“…Following up on their earlier findings, Augustin et al (2011) investigated the temporal relation between style-and content-related processing of representational art to identify when sufficient information is available to allow accurate classification of paintings. The two levels of artistic style employed consisted of paintings by two artists with very distinctive individual styles, the German Expressionist ErnstLudwig Kirchner and the Post-Impressionist Paul Cézanne.…”

Section: Categorization Of a Painting's Content And Style At First Glmentioning

confidence: 99%

The Aesthetic Experience with Visual Art “At First Glance”

Locher

2015

Contributions to Phenomenology

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The aesthetic experience with visual art has been shown to occur in two stages. Upon initial exposure to a painting, a viewer spontaneously generates a global impression, or gist, of the work. One's first impression of a painting includes a sense of its pictorial content, overall structural organization and style, meaningfulness, and an affective reaction to it. When gist information in a painting is deemed to have sufficient interest to an observer, the second stage of aesthetic processing ensues. This consists of directed focal exploration of the image to expand knowledge concerning the work's compositional features and organization to satisfy cognitive curiosity and to develop aesthetic appreciation of a composition. This chapter presents an overview of research findings that have identified the types of visual properties and semantically related information that collectively lead to the activation of what is labeled a "painting gist" by this author. In addition, the influence of the painting gist response on the focal exploration of paintings is discussed.

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“…In an event related potential (ERP) study, Augustin et al (2011) found that processing of style starts later and develops more slowly than the processing of content (50 ms vs. 10 ms, respectively). They attribute this time difference in processing of the artwork to the fact that classification of content is extremely over-learned by humans as part of daily object classification and recognition whereas style analysis is a visual task that many have hardly ever experienced.…”

Section: Neural and Behavioral Correlates Of Art/abstract Artmentioning

confidence: 99%

What does the brain tell us about abstract art?

Aviv

2014

Front. Hum. Neurosci.

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In this essay I focus on the question of why we are attracted to abstract art (perhaps more accurately, non-representational or object-free art). After elaborating on the processing of visual art in general and abstract art in particular, I discuss recent data from neuroscience and behavioral studies related to abstract art. I conclude with several speculations concerning our apparent appeal to this particular type of art. In particular, I claim that abstract art frees our brain from the dominance of reality, enabling it to flow within its inner states, create new emotional and cognitive associations, and activate brain-states that are otherwise harder to access. This process is apparently rewarding as it enables the exploration of yet undiscovered inner territories of the viewer’s brain.

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The neural time course of art perception: An ERP study on the processing of style versus content in art

Cited by 55 publications

References 46 publications

Neurocognitive poetics: methods and models for investigating the neuronal and cognitive-affective bases of literature reception

Neurocognitive poetics: methods and models for investigating the neuronal and cognitive-affective bases of literature reception

The Aesthetic Experience with Visual Art “At First Glance”

What does the brain tell us about abstract art?

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