Neural correlates of visual aesthetic appreciation: insights from non-invasive brain stimulation

Swing-phase pelvis perturbation improves dynamic lateral balance during walking in individuals with spinal cord injury

The purpose of this study was to determine whether the control of lateral balance can be improved by applying repeated lateral perturbation force to the pelvis during swing versus stance phase walking in individuals with spinal cord injury (SCI). Fourteen individuals with incomplete SCI were recruited in this study. Each participant visited the lab once and was tested in two experimental sessions that consisted of (1) treadmill walking with bilateral perturbation force applied to the pelvis in the lateral direction during either swing or stance phase of each leg and (2) overground walking pre- and post-treadmill walking. Applying the swing-phase perturbation during walking induced a greater increase in the muscle activation of hip abductors and ankle plantar flexors and a greater improvement in lateral balance control after the removal of perturbation force, in comparison to the results of the stance-phase perturbation condition (P ≤ 0.03). Participants also exhibited a greater reduction in overground step width and a greater improvement in overground walking speed after a session of treadmill walking practice with the swing-phase perturbation, compared with the result of the stance-phase perturbation (P = 0.01). These findings suggest that applying perturbation force to the pelvis during the swing phase of gait while walking may enhance muscle activities of hip abductors and improve lateral balance control in individuals with SCI. A walking practice with the swing-phase pelvis perturbation can be used as a rehabilitation approach to improve the control of lateral balance during walking in people with SCI.

Art and digital technologies to support resilience during the oncological journey: The Art4ART project

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Digital technologies can be useful in welcoming patients using the beauty of art.

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Cancer patients typically need to be supported in their treatment pathway.

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Digital entertainment can become a resilience-enhancing strategy.

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Art4ART project offers an art-based digital supporting patients’ resilience.

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Art4ART offers a research platform about the role of humanities as cure.

Introduction

New digital technologies can become a tool for welcoming the patient through the artistic dimension. Cancer patients, in particular, need support that accompanies and supports them throughout their treatment.

Materials and methods

The Art4ART project consist in the structural proposal to cancer patients of a web-based digital platform containing several forms of art as video-entertainments; a multimedia immersive room; an art-based welcoming of the patients with several original paintings; an environment with a peacefulness vertical garden; a reconceptualization of the chemotherapy-infusion seats. Data regarding patients’ preference and choices will be stored and analysed also using artificial intelligence (AI) algorithm to measure and predict impact indicators regarding clinical outcomes (survival and toxicity), psychological indicators. Moreover, the same digital platform will contribute to a better organization of the activities.

Discussion

Through the systematic acquisition of patient preferences and through integration with other clinical parameters, it will be possible to measure the clinical, psychological, organisational, and social impact of the newly implemented Art4ART project. The use of digital technology leads us to apply the reversal of viewpoint from therapeutic acts to patient-centred care.

Do we enjoy what we sense and perceive? A dissociation between aesthetic appreciation and basic perception of environmental objects or events

This integrative review rearticulates the notion of human aesthetics by critically appraising the conventional definitions, offerring a new, more comprehensive definition, and identifying the fundamental components associated with it. It intends to advance holistic understanding of the notion by differentiating aesthetic perception from basic perceptual recognition, and by characterizing these concepts from the perspective of information processing in both visual and nonvisual modalities. To this end, we analyze the dissociative nature of information processing in the brain, introducing a novel local-global integrative model that differentiates aesthetic processing from basic perceptual processing. This model builds on the current state of the art in visual aesthetics as well as newer propositions about nonvisual aesthetics. This model comprises two analytic channels: aesthetics-only channel and perception-to-aesthetics channel. The aesthetics-only channel primarily involves restricted local processing for quality or richness (e.g., attractiveness, beauty/prettiness, elegance, sublimeness, catchiness, hedonic value) analysis, whereas the perception-to-aesthetics channel involves global/extended local processing for basic feature analysis, followed by restricted local processing for quality or richness analysis. We contend that aesthetic processing operates independently of basic perceptual processing, but not independently of cognitive processing. We further conjecture that there might be a common faculty, labeled as aesthetic cognition faculty, in the human brain for all sensory aesthetics albeit other parts of the brain can also be activated because of basic sensory processing prior to aesthetic processing, particularly during the operation of the second channel. This generalized model can account not only for simple and pure aesthetic experiences but for partial and complex aesthetic experiences as well.

Exploring the Effects of Brain Stimulation on Musical Taste: tDCS on the Left Dorso-Lateral Prefrontal Cortex—A Null Result

Humans are the only species capable of experiencing pleasure from esthetic stimuli, such as art and music. Neuroimaging evidence suggests that the left dorsolateral prefrontal cortex (DLPFC) plays a critical role in esthetic judgments, both in music and in visual art. In the last decade, non-invasive brain stimulation (NIBS) has been increasingly employed to shed light on the causal role of different brain regions contributing to esthetic appreciation. In Experiment #1, musician (N = 20) and non-musician (N = 20) participants were required to judge musical stimuli in terms of “liking” and “emotions”. No significant differences between groups were found, although musicians were slower than non-musicians in both tasks, likely indicating a more analytic judgment, due to musical expertise. Experiment #2 investigated the putative causal role of the left dorsolateral pre-frontal cortex (DLPFC) in the esthetic appreciation of music, by means of transcranial direct current stimulation (tDCS). Unlike previous findings in visual art, no significant effects of tDCS were found, suggesting that stimulating the left DLPFC is not enough to affect the esthetic appreciation of music, although this conclusion is based on negative evidence,.

Universality and superiority in preference for chromatic composition of art paintings

Color composition in paintings is a critical factor affecting observers’ aesthetic judgments. We examined observers’ preferences for the color composition of Japanese and Occidental paintings when their color gamut was rotated. In the experiment, observers were asked to select their preferred image from original and three hue-rotated images in a four-alternative forced choice paradigm. Despite observers’ being unfamiliar with the presented artwork, the original paintings (0 degrees) were preferred more frequently than the hue-rotated ones. Furthermore, the original paintings’ superiority was observed when the images were divided into small square pieces and their positions randomized (Scrambled condition), and when the images were composed of square pieces collected from different art paintings and composed as patchwork images (Patchwork condition). Therefore, the original paintings’ superiority regarding preference was quite robust, and the specific objects in the paintings associated with a particular color played only a limited role. Rather, the original paintings’ general trend in color statistics influenced hue-angle preference. Art paintings likely share common statistical regulations in color distributions, which may be the basis for the universality and superiority of the preference for original paintings.

Functional specificity and neural integration in the aesthetic appreciation of artworks with implied motion

Although there is growing interest in the neural foundations of aesthetic experience, it remains unclear how particular mental subsystems (e.g. perceptual, affective and cognitive) are involved in different types of aesthetic judgements. Here, we use fMRI to investigate the involvement of different neural networks during aesthetic judgements of visual artworks with implied motion cues. First, a behavioural experiment (N = 45) confirmed a preference for paintings with implied motion over static cues. Subsequently, in a preregistered fMRI experiment (N = 27), participants made aesthetic and motion judgements towards paintings representing human bodies in dynamic and static postures. Using functional region-of-interest and Bayesian multilevel modelling approaches, we provide no compelling evidence for unique sensitivity within or between neural systems associated with body perception, motion and affective processing during the aesthetic evaluation of paintings with implied motion. However, we show suggestive evidence that motion and body-selective systems may integrate signals via functional connections with a separate neural network in dorsal parietal cortex, which may act as a relay or integration site. Our findings clarify the roles of basic visual and affective brain circuitry in evaluating a central aesthetic feature-implied motion-while also pointing towards promising future research directions, which involve modelling aesthetic preferences as hierarchical interplay between visual and affective circuits and integration processes in frontoparietal cortex.

Dissociating embodiment and emotional reactivity in motor responses to artworks

Perceiving art is known to elicit motor cortex activation in an observer's brain. This motor activation has often been attributed to a covert approach response associated with the emotional valence of an art piece (emotional reaction hypothesis). However, recent accounts have proposed that aesthetic experiences could be grounded in the motor simulation of actions required to produce an art piece and of the sensorimotor states embedded in its subject (embodied aesthetic hypothesis). Here, we aimed to test these two hypotheses by assessing whether motor facilitation during artwork perception mirrors emotional or motor simulation processes. To this aim, we capitalized on single pulse transcranial magnetic stimulation revealing a two-stage motor coding of emotional body postures: an early, non-specific activation related to emotion processing and a later action-specific activation reflecting motor simulation. We asked art-naïve individuals to rate how much they liked a series of pointillist and brushstroke canvases; photographs of artistic gardens served as control natural stimuli. After an early (150 ms) or a later (300 ms) post-stimulus delay, motor evoked potentials were recorded from wrist-extensor and finger muscles that were more involved in brushstroke- and pointillist-like painting, respectively. Results showed that observing the two canvas styles did not elicit differential motor activation in the early time window for either muscle, not supporting the emotional reaction hypothesis. However, in support of the embodied aesthetic hypothesis, we found in the later time window greater motor activation responses to brushstroke than pointillist canvases for the wrist-extensor, but not for the finger muscle. Furthermore, this muscle-selective facilitation was associated with lower liking ratings of brushstroke canvases and with greater empathy dispositions. These findings support the claim that simulation of the painter's movements is crucial for aesthetic experience, by documenting a link between motor simulation, dispositional empathy, and subjective appreciation in artwork perception.