Coevolutionary aesthetics in human and biotic artworlds

Where creativity meets aesthetics: The Mirror Model of Art revisited with fMRI

How meaning is conveyed from creator to observer is debated in the psychology of art. The Mirror Model of Art represents a theoretical framework for bridging the psychological processes that underpin creative production and aesthetic appreciation of art. Specifically, it postulates that creating art and having an aesthetic experience are "mirrored" processes such that the early stage of aesthetic appreciation corresponds to the late stage of creative production, and conversely, that the late stage of aesthetic appreciation corresponds to the early stage of creative production. We conducted a meta-analysis of fMRI studies in the visual domain to test this hypothesis. Our results reveal that creative production engages the prefrontal cortex, which we attribute to its role in idea generation, whereas aesthetic appreciation engages the visual cortex, anterior insula, parahippocampal gyrus, the fusiform gyrus, and the frontal lobes, regions involved primarily in sensory, perceptual, reward and mnemonic processing. Their direct comparison revealed that creative production was associated with greater activation in the prefrontal cortex, whereas aesthetic appreciation was associated with greater activation in the visual cortex. This meta-analysis largely supports predictions derived from the Mirror Model of Art, by providing a snapshot of neural activity in the relatively early stages in art creators' and observers' minds. Future studies that capture brain function across longer spans of time are needed to understand the expression of creativity and aesthetic appreciation in different stages of information processing in relation to the Mirror Model of Art.

On the connection between creativity and aesthetics

Within cognitive psychology, there are separate experimental fields devoted to the study of creativity, on the one hand, and aesthetics, on the other, with virtually no cross-talk between them. In this article, I propose a means of uniting creativity and aesthetics via a consideration of the mechanisms of cultural evolution. I call this the creativity/aesthetics cycle. The basic tenet of the model is that creativity and aesthetics mediate, respectively, the processes of variation (production) and selection (perception or consumption) in evolutionary models of culture. By means of this cycle, creators produce works that they hope will be evaluated positively by consumers, where such appraisals ultimately feed back to influence the subsequent decision-making processes of creators. I discuss the implications of this model for the fields of creativity and aesthetics.

Experiencing beauty in everyday life

Beauty surrounds us in many ways every day. In three experience sampling (ESM) studies we investigated frequency, category of eliciting stimuli (natural vs human-made) and, the potential moderating role of several individual difference measures on such everyday experiences of beauty in an ecologically valid manner. Further, we explored the impact of such experiences on valence & arousal. Study 1 re-analysed data from a previous study, in line with the current aims. In Studies 2 and 3, we asked participants to report daily experiences of beauty using a mixed random and event-contingent sampling schedule. Mobile notifications (random sampling) prompted participants to take a photo and rate the beauty of their surroundings. Further, current valence and arousal were assessed. Notification frequency and total days of participation differed between these two studies. Participants were able to report additional experiences outside of the notification windows (event-contingent sampling). Our results indicate that we frequently encounter beauty in everyday life and that we find it in nature, in particular. Our results further suggest a mood-boosting effect of encounters with beauty. Lastly, our results indicate influences of individual differences however, these were inconclusive and require further attention.

Enjoying art: an evolutionary perspective on the esthetic experience from emotion elicitors

The ubiquity of human art prompted evolutionary psychologists to explore its origins as a potential adaptation to the environment. Here we focus on emotionally charged art and posit that affective affordances embedded into some artworks play a pivotal role in explaining why these artworks are enjoyed from an evolutionary perspective. Such features, recurring in various art forms, are interpreted as cues to the emotional state of others, enabling art consumers to engage in empathetic experiences and vicarious emotions. We explore the adaptive value of deriving pleasure from vicarious emotions, while also addressing the seemingly counterintuitive enjoyment of artworks that evoke negative emotions. We discuss the appreciation of vicarious emotions irrespective of their valence and maintain this appreciation to hold adaptive significance for three key reasons. Firstly, it aids art consumers in refining their interpretational schemes of internal states, potentially enhancing emotional regulation skills. Secondly, it contributes to a deeper understanding of the emotions of others, thereby fostering emotional intelligence and empathy. Lastly, the enjoyment of affectively charged artworks reinforces social cohesion by harmonizing the emotions of group members. This perspective provides a comprehensive framework for understanding the evolutionary underpinnings of the human capacity for art appreciation and emotional engagement.

Aula Verde (tree room) as a link between art and science to raise public awareness of nature-based solutions

Nature-based solutions inherently require a multifaceted perspective that encompasses diverse fields. The aim of this project is to develop more effective nature-based solutions, climate action and environmental awareness by breaking down boundaries between disciplines and fostering a co-creative process. Concepts of ecology and urban forestry were combined with the research on political ecology, environmental humanities, land art, regenerative art, performing art, participatory art, and more-than-human art. This process resulted in the creation of Aula Verde Aniene. It is located in an urban park in Rome and consists of a stand of trees arranged in circles with a specific design to give the perception of being in an outdoor vegetated room. The project activities involved community participation through art performances and citizen science initiatives. Regulating and cultural ecosystem services of Aula Verde were assessed using i-Tree Eco software and citizens' surveys. Beyond numerical descriptions of ecosystem services, the manuscript introduces shinrin-yoku as a practice to raise awareness of nature. The distinctive approach here described contributed to convey a sense of belonging to the ecosystem to citizens. The project framework and study findings have been developed to formulate policy recommendations and disseminate a format that can be adapted to diverse locations.

Cultural evolution: Conserved patterns of melodic evolution across musical cultures

A new study finds that melodies evolve in similar ways, reminiscent of genetic evolution, across cultures. Patterns of change in music and other aesthetic domains may be the key to understanding how culture evolves when unfettered by physical or ecological constraints.

Why and How Should Cognitive Science Care about Aesthetics?

Empirical aesthetics has found its way into mainstream cognitive science. Until now, most research has focused either on identifying the internal processes that underlie a perceiver's aesthetic experience or on identifying the stimulus features that lead to a specific type of aesthetic experience. To progress, empirical aesthetics must integrate these approaches into a unified paradigm that encourages researchers to think in terms of temporal dynamics and interactions between: (i) the stimulus and the perceiver; (ii) different systems within the perceiver; and (iii) different layers of the stimulus. At this critical moment, empirical aesthetics must also clearly identify and define its key concepts, sketch out its agenda, and specify its approach to grow into a coherent and distinct discipline.

Bioaesthetics: The evolution of aesthetic cognition in humans and other animals

Bioaesthetics, an exciting new branch of aesthetics, examines the evolutionary origins of aesthetics in humans and other animals. We suggest that aesthetics is a multicomponent faculty and discuss certain traits that are shared with other species. We discuss Richard Prum's theory that aesthetic signal and audience are joined in a coevolutionary loop: one by necessity shaping the other. We discuss its implications for aesthetic phenomena as diverse as sexual selection, domestication, and cuisine. In addition to biologically evolved aesthetics, we emphasize that humans possess culturally coevolved aesthetics, which helps explain the unusual variability of aesthetic domains across human cultures. We analyze social and cognitive factors that may have driven this development, particularly exploring the role of the artist, who we argue must mentally adopt the position of the audience while producing an artwork, instantiating a third coevolutionary loop on the individual level.