The world can look better: enhancing beauty experience with brain stimulation

Binocularly suppressed stimuli induce brain activities related to aesthetic emotions

Introduction

Aesthetic emotions are a class of emotions aroused by evaluating aesthetically appealing objects or events. While evolutionary aesthetics suggests the adaptive roles of these emotions, empirical assessments are lacking. Previous neuroscientific studies have demonstrated that visual stimuli carrying evolutionarily important information induce neural responses even when presented non-consciously. To examine the evolutionary importance of aesthetic emotions, we conducted a neuroscientific study using magnetoencephalography (MEG) to measure induced neural responses to non-consciously presented portrait paintings categorised as biological and non-biological and examined associations between the induced responses and aesthetic ratings.

Methods

MEG and pre-rating data were collected from 23 participants. The pre-rating included visual analogue scales for object saliency, facial saliency, liking, and beauty scores, in addition to 'biologi-ness,' which was used for subcategorising stimuli into biological and non-biological. The stimuli were presented non-consciously using a continuous flash suppression paradigm or consciously using binocular presentation without flashing masks, while dichotomic behavioural responses were obtained (beauty or non-beauty). Time-frequency decomposed MEG data were used for correlation analysis with pre-rating scores for each category.

Results

Behavioural data revealed that saliency scores of non-consciously presented stimuli influenced dichotomic responses (beauty or non-beauty). MEG data showed that non-consciously presented portrait paintings induced spatiotemporally distributed low-frequency brain activities associated with aesthetic ratings, which were distinct between the biological and non-biological categories and conscious and non-conscious conditions.

Conclusion

Aesthetic emotion holds evolutionary significance for humans. Neural pathways are sensitive to visual images that arouse aesthetic emotion in distinct ways for biological and non-biological categories, which are further influenced by consciousness. These differences likely reflect the diversity in mechanisms of aesthetic processing, such as processing fluency, active elaboration, and predictive processing. The aesthetic processing of non-conscious stimuli appears to be characterised by fluency-driven affective processing, while top-down regulatory processes are suppressed. This study provides the first empirical evidence supporting the evolutionary significance of aesthetic processing.

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,.

Testing the Reproducibility of the Effects of Transcranial Direct Current Stimulation: Failure to Modulate Beauty Perception by Brain Stimulation

Transcranial direct current stimulation (tDCS) has been recognized as a promising tool for investigating the causal relationship between specific brain areas of interest and behavior. However, the reproducibility of previous tDCS studies is often questioned because of failures in replication. This study focused on the effects of tDCS on one cognitive domain: beauty perception. To date, the modulation of beauty perception by tDCS has been shown in two studies: Cattaneo et al. (2014) and Nakamura and Kawabata (2015). Here, we aimed at replicating their studies and investigating the effects of tDCS on beauty perception using the following parameters: (1) cathodal stimulation over the medial prefrontal cortex (mPFC) (Nakamura and Kawabata, 2015); (2) anodal stimulation over the left dorsolateral prefrontal cortex (lDLPFC) (Cattaneo et al., 2014). We also performed a more focal stimulation targeting the orbitofrontal cortex (OFC) to determine the optimal stimulation site for modulating beauty perception (3). Participants rated the subjectively-perceived beauty of the images before and after the tDCS administration. We divided images into four clusters according to the obtained scores in our preliminary study and examined changes in beauty ratings in each image cluster separately to exclude factors, such as stimuli attributions that may reduce tDCS effects. The results showed no strong effects of tDCS with the same parameters as in previous studies on beauty rating scores in any image cluster. Likewise, anodal stimulation over the OFC did not result in a change in rating scores. In contrast to previous studies, the current study did not corroborate the effects of tDCS on beauty perception. Our findings provide evidence regarding the recent reproducibility issue of tDCS effects and suggest the possible inflation of its effects on cognitive domains.

The role of ventromedial and dorsolateral prefrontal cortex in attention and interpretation biases in individuals with general anxiety disorder (GAD): A tDCS study

BACKGROUND

and purpose of the study: Individuals with general anxiety disorder (GAD) have deficits in emotional and cognitive processing, including cognitive bias, which plays a causal role in anxiety. Hyperactivity of the ventromedial prefrontal cortex (vmPFC) and dorsolateral prefrontal cortex (dlPFC) is assumed to be involved in cognitive bias. We aimed to explore the causal contribution of the dorsolateral and ventromedial prefrontal cortices (dlPFC, vmPFC) on cognitive bias via non-invasive brain stimulation, and expected a bias-reducing effect of cortical activity enhancement over these areas in GAD, with a larger contribution of the vmPFC to perceptual, and of the dlPFC to interpretation bias.

MATERIAL AND METHODS

The study was conducted in a randomized, single-blinded, and complete crossover design. Thirty-four adults with GAD, received transcranial direct current stimulation (tDCS) in 5 separate sessions (1.5 mA, 20 min) with the following electrode montages: anodal dlPFC/cathodal vmPFC, anodal vmPFC/cathodal dlPFC, anodal dlPFC/cathodal right shoulder, anodal vmPFC/cathodal left shoulder, and sham stimulation. During stimulation, in each session, participants performed the Dot-Probe and Reading Mind from Eyes tests to measure attention and interpretation biases.

RESULTS

A significant effect of stimulation condition on attention and interpretation biases was observed. Anodal vmPFC and dlPFC stimulation coupled with an extracranial cathodal electrode reduced attention bias to threat-related stimuli in the dot-probe test. Furthermore, anodal dlPFC/cathodal vmPFC stimulation reduced negative interpretation bias in reading from eyes test.

CONCLUSION

As suggested by the results of this study, both dlPFC and vmPFC are involved in cognitive bias in GAD, but with partially different roles. Anodal stimulation over the right vmPFC and the left dlPFC reduced attention bias, supporting the relevance of these areas for attention bias. For interpretation bias, the significant effect of anodal dlPFC/cathodal vmPFC stimulation, but only trendwise effect of anodal tDCS over the dlPFC combined with an extracephalic return electrode is in accordance with a predominant effect of the dlPFC on interpretation bias, but does not rule out an additional minor involvement of the vmPFC. Based on these results, a new model is suggested for the neural underpinnings of anxiety symptoms.

The effect of action observation on aesthetic preference of Chinese calligraphy: An fMRI study

INTRODUCTION

There is some evidence suggesting that movement perception has an effect on aesthetic experience. However, the neural mechanisms underlying the observation of creators' creative action (the process that calligraphers create calligraphy) remain unclear.

METHODS

In this study, participants were scanned with fMRI while performing aesthetic judgments on Chinese calligraphy images with/without action observation.

RESULTS

Behavioral results showed that both the work by the expert and novice with action observation were rated significantly higher on aesthetic preference than those without action observation. Imaging results showed that brain regions associated with perceptual, cognitive, and emotional processing were commonly activated by calligraphy images with/without action observation. However, compared with no action observation, aesthetic judgments of calligraphy images with action observation elicited stronger activation in the anterior cingulate cortex and the bilateral insula. Meanwhile, the superior parietal lobe which is associated with relevant inner action imitation, was also activated when observing the creator's action.

CONCLUSIONS

Brain activation in the superior parietal lobe, anterior cingulate cortex, and the bilateral insula indicated that observing the creative action of the creators contributed to the aesthetic experience of the observer.

Familiarity and Novelty in Aesthetic Preference: The Effects of the Properties of the Artwork and the Beholder

Familiarity and novelty are fundamental yet competing factors influencing aesthetic preference. However, whether people prefer familiar paintings or novel paintings has not been clear. Using both behavioral and eye-tracking measures, the present study aimed to investigate whether the effect of familiarity-novelty on aesthetic preference is independent or dependent on artwork properties (painting content, visual complexity) and viewer characteristics (experience in art). Participants were presented with two images of paintings, one of which was repeatedly presented but was always paired with a new painting in a randomized lateral arrangement. They were asked to indicate which of the two images they preferred with the degree of their preference. Behavioral results demonstrated an interactive influence of painting content and complexity on familiarity-novelty preference, especially alongside the distinction between representational and abstract paintings. Also, the familiarity-novelty preference was modulated by the degree of art experience, for abstract paintings in particular. Gaze results showed the differential effects of painting content, complexity, and art experience echoing the behavioral results. Taken together, the convergent results derived from behavioral and eye-tracking measures imply that novelty is an important feature of aesthetic appreciation, but its influence is modulated by properties of both the artwork and the beholder.

Visceromotor Roots of Aesthetic Evaluation of Pain in art: an fMRI Study

Empathy for pain involves sensory and visceromotor brain regions relevant also in the first-person pain experience. Focusing on brain activations associated with vicarious experiences of pain triggered by artistic or non-artistic images, the present study aims to investigate common and distinct brain activation patterns associated with these two vicarious experiences of pain and to assess whether empathy for pain brain regions contributes to the formation of an aesthetic judgement (AJ) in non-art expert observers. Artistic and non-artistic facial expressions (painful and neutral) were shown to participants inside the scanner and then aesthetically rated in a subsequent behavioural session. Results showed that empathy for pain brain regions (i.e. bilateral insular cortex, posterior sector of the anterior cingulate cortex and the anterior portion of the middle cingulate cortex) and bilateral inferior frontal gyrus are commonly activated by artistic and non-artistic painful facial expressions. For the artistic representation of pain, the activity recorded in these regions directly correlated with participants’ AJ. Results also showed the distinct activation of a large cluster located in the posterior cingulate cortex/precuneus for non-artistic stimuli. This study suggests that non-beauty-specific mechanisms such as empathy for pain are crucial components of the aesthetic experience of artworks.

The role of dorsolateral and ventromedial prefrontal cortex in the processing of emotional dimensions

The ventromedial and dorsolateral prefrontal cortex are two major prefrontal regions that usually interact in serving different cognitive functions. On the other hand, these regions are also involved in cognitive processing of emotions but their contribution to emotional processing is not well-studied. In the present study, we investigated the role of these regions in three dimensions (valence, arousal and dominance) of emotional processing of stimuli via ratings of visual stimuli performed by the study participants on these dimensions. Twenty- two healthy adult participants (mean age 25.21 ± 3.84 years) were recruited and received anodal and sham transcranial direct current stimulation (tDCS) (1.5 mA, 15 min) over the dorsolateral prefrontal cortex (dlPFC) and and ventromedial prefrontal cortex (vmPFC) in three separate sessions with an at least 72-h interval. During stimulation, participants underwent an emotional task in each stimulation condition. The task included 100 visual stimuli and participants were asked to rate them with respect to valence, arousal, and dominance. Results show a significant effect of stimulation condition on different aspects of emotional processing. Specifically, anodal tDCS over the dlPFC significantly reduced valence attribution for positive pictures. In contrast, anodal tDCS over the vmPFC significantly reduced arousal ratings. Dominance ratings were not affected by the intervention. Our results suggest that the dlPFC is involved in control and regulation of valence of emotional experiences, while the vmPFC might be involved in the extinction of arousal caused by emotional stimuli. Our findings implicate dimension-specific processing of emotions by different prefrontal areas which has implications for disorders characterized by emotional disturbances such as anxiety or mood disorders.

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

During the last decade, non-invasive brain stimulation techniques have been increasingly employed in the field of neuroaesthetics research to shed light on the possible causal role of different brain regions contributing to aesthetic appreciation. Here, I review studies that have employed transcranial magnetic stimulation (TMS) and transcranial direct current stimulation (tDCS) to investigate neurocognitive mechanisms mediating visual aesthetic appreciation for different stimuli categories (faces, bodies, paintings). The review first considers studies that have assessed the possible causal contribution of cortical regions in mediating aesthetic appreciation along the visual ventral and dorsal pathways (i.e., the extrastriate body area, the motion-sensitive region V5/MT+ , the lateral occipital complex and the posterior parietal cortex). It then considers TMS and tDCS studies that have targeted premotor and motor regions, as well as other areas involved in body and facial expression processing (such as the superior temporal sulcus and the somatosensory cortex) to assess their role in aesthetic evaluation. Finally, it discusses studies that have targeted medial and dorsolateral prefrontal regions leading to significant changes in aesthetic appreciation for both biological stimuli (faces and bodies) and artworks. Possible mechanisms mediating stimulation effects on aesthetic judgments are discussed. A final section considers both methodological limitations of the reviewed studies (including levels of statistical power and the need for further replication) and the future potential for non-invasive brain stimulation to significantly contribute to the understanding of the neural bases of visual aesthetic experiences.

The role of hedonics in the Human Affectome

Experiencing pleasure and displeasure is a fundamental part of life. Hedonics guide behavior, affect decision-making, induce learning, and much more. As the positive and negative valence of feelings, hedonics are core processes that accompany emotion, motivation, and bodily states. Here, the affective neuroscience of pleasure and displeasure that has largely focused on the investigation of reward and pain processing, is reviewed. We describe the neurobiological systems of hedonics and factors that modulate hedonic experiences (e.g., cognition, learning, sensory input). Further, we review maladaptive and adaptive pleasure and displeasure functions in mental disorders and well-being, as well as the experience of aesthetics. As a centerpiece of the Human Affectome Project, language used to express pleasure and displeasure was also analyzed, and showed that most of these analyzed words overlap with expressions of emotions, actions, and bodily states. Our review shows that hedonics are typically investigated as processes that accompany other functions, but the mechanisms of hedonics (as core processes) have not been fully elucidated.

Why would Parkinson's disease lead to sudden changes in creativity, motivation, or style with visual art?: A review of case evidence and new neurobiological, contextual, and genetic hypotheses

Parkinson's disease (PD) is a devastating diagnosis with, however, potential for an extremely intriguing aesthetic component. Despite motor and cognitive deficits, an emerging collection of studies report a burst of visual artistic output and alterations in produced art in a subgroup of patients. This provides a unique window into the neurophysiological bases for why and how we might create and enjoy visual art, as well as into general brain function and the nature of PD or other neurodegenerative diseases. However, there has not been a comprehensive organization of literature on this topic. Nor has there been an attempt to connect case evidence and knowledge on PD with present understanding of visual art making in psychology and neuroaesthetics in order to propose hypotheses for documented artistic changes. Here, we collect the current research on this topic, tie this to PD symptoms and neurobiology, and provide new theories focusing on dopaminergic neuron damage, over-stimulation from dopamine agonist therapy, and context or genetic factors revealing the neurobiological basis of the visual artistic brain.

Hemispheric asymmetry of liking for representational and abstract paintings

Although the neural correlates of the appreciation of aesthetic qualities have been the target of much research in the past decade, few experiments have explored the hemispheric asymmetries in underlying processes. In this study, we used a divided visual field paradigm to test for hemispheric asymmetries in men and women's preference for abstract and representational artworks. Both male and female participants liked representational paintings more when presented in the right visual field, whereas preference for abstract paintings was unaffected by presentation hemifield. We hypothesize that this result reflects a facilitation of the sort of visual processes relevant to laypeople's liking for art-specifically, local processing of highly informative object features-when artworks are presented in the right visual field, given the left hemisphere's advantage in processing such features.

The dorsomedial prefrontal cortex mediates the interaction between moral and aesthetic valuation: a TMS study on the beauty-is-good stereotype

Attractive individuals are perceived as possessing more positive personal traits than unattractive individuals. This reliance on aesthetic features to infer moral character suggests a close link between aesthetic and moral valuation. Here we aimed to investigate the neural underpinnings of the interaction between aesthetic and moral valuation by combining transcranial magnetic stimulation (TMS) with a priming paradigm designed to assess the Beauty-is-Good stereotype. Participants evaluated the trustworthiness of a series of faces (targets), each of which was preceded by an adjective describing desirable, undesirable, or neutral aesthetic qualities (primes). TMS was applied between prime and target to interfere with activity in two regions known to be involved in aesthetic and moral valuation: the dorsomedial prefrontal cortex (dmPFC, a core region in social cognition) and the dorsolateral prefrontal cortex (dlPFC, critical in decision making). Our results showed that when TMS was applied over vertex (control) and over the dlPFC, participants judged faces as more trustworthy when preceded by positive than by negative aesthetic primes (as also shown in two behavioral experiments). However, when TMS was applied over the dmPFC, primes had no effect on trustworthiness judgments. A second Experiment corroborated this finding. Our results suggest that mPFC plays a causal role linking moral and aesthetic valuation.

The Role of the Orbitofrontal and Dorsolateral Prefrontal Cortices in Aesthetic Preference for Art

The search for the underlying neural activation that occurs during subjective aesthetic experiences of artwork has been enhanced through neuroimaging techniques. Recently, the dorsolateral prefrontal cortex, alongside the orbitofrontal cortex, have been implicated in aesthetic appreciation, and this is the focus of the present paper. Here, the validity of this conclusion is examined through the discussion of its neuroanatomical connections and functional properties. It is proposed that the experimental evidence challenges the view that this area could hold a privileged position in a brain network involved in aesthetic preference.

Neuroscience of aesthetics

Aesthetic evaluations are appraisals that influence choices in important domains of human activity, including mate selection, consumer behavior, art appreciation, and possibly even moral judgment. The nascent field of neuroaesthetics is advancing our understanding of the role of aesthetic evaluations by examining their biological bases. Here, we conduct a selective review of the literature on neuroaesthetics to demonstrate that aesthetic experiences likely emerge from the interaction between emotion-valuation, sensory-motor, and meaning-knowledge neural systems. This tripartite model can in turn be evoked to explain phenomena central to aesthetics, such as context effects on preferences. Indeed, context-dependent appraisals that focus on objects rather than on outcomes could be an important factor distinguishing aesthetic experiences from other kinds of evaluations.

A TMS study on the contribution of visual area V5 to the perception of implied motion in art and its appreciation

Over the last decade, researchers have sought to understand the brain mechanisms involved in the appreciation of art. Previous studies reported an increased activity in sensory processing regions for artworks that participants find more appealing. Here we investigated the intriguing possibility that activity in cortical area V5-a region in the occipital cortex mediating physical and implied motion detection-is related not only to the generation of a sense of motion from visual cues used in artworks, but also to the appreciation of those artworks. Art-naïve participants viewed a series of paintings and quickly judged whether or not the paintings conveyed a sense of motion, and whether or not they liked them. Triple-pulse TMS applied over V5 while viewing the paintings significantly decreased the perceived sense of motion, and also significantly reduced liking of abstract (but not representational) paintings. Our data demonstrate that V5 is involved in extracting motion information even when the objects whose motion is implied are pictorial representations (as opposed to photographs or film frames), and even in the absence of any figurative content. Moreover, our study suggests that, in the case of untrained people, V5 activity plays a causal role in the appreciation of abstract but not of representational art.

Transcranial Direct Current Stimulation over the Medial Prefrontal Cortex and Left Primary Motor Cortex (mPFC-lPMC) Affects Subjective Beauty but Not Ugliness

Neuroaesthetics has been searching for the neural bases of the subjective experience of beauty. It has been demonstrated that neural activities in the medial prefrontal cortex (mPFC) and the left primary motor cortex (lPMC) correlate with the subjective experience of beauty. Although beauty and ugliness seem to be semantically and conceptually opposite, it is still unknown whether these two evaluations represent extreme opposites in unitary or bivariate dimensions. In this study, we applied transcranial direct current stimulation (tDCS) to examine whether non-invasive brain stimulation modulates two types of esthetic evaluation; evaluating beauty and ugliness. Participants rated the subjective beauty and ugliness of abstract paintings before and after the application of tDCS. Application of cathodal tDCS over the mPFC with anode electrode over the lPMC, which induced temporal inhibition of neural excitability of the mPFC, led to a decrease in beauty ratings but not ugliness ratings. There were no changes in ratings of both beauty and ugliness when applying anodal tDCS or sham stimulation over the mPFC. Results from our experiment indicate that the mPFC and the lPMC have a causal role in generating the subjective experience of beauty, with beauty and ugliness evaluations constituting two distinct dimensions.

Dreaming and Neuroesthetics

This paper, which is limited to the art of painting, aims to support the idea that a substantial insertion of concepts and methods drawn on dream psychology and dream neuroscience can contribute to the advancements of Neuroesthetics. The historical and scientific reasons are discussed that have determined the so far poor role played by the dream phenomenon in the developments of Neuroesthetics. In the light of recent advancements in psychophysiological research, a method of analyzing artistic products is proposed that is based on the recognition of precise features proper of the dreaming experience. Four examples are given for application of this method, regarding works by Giorgione, Leonardo da Vinci, Vermeer, and Millais, respectively.

Ten years of a model of aesthetic appreciation and aesthetic judgments : The aesthetic episode - Developments and challenges in empirical aesthetics

About a decade ago, psychology of the arts started to gain momentum owing to a number of drives: technological progress improved the conditions under which art could be studied in the laboratory, neuroscience discovered the arts as an area of interest, and new theories offered a more comprehensive look at aesthetic experiences. Ten years ago, Leder, Belke, Oeberst, and Augustin (2004) proposed a descriptive information-processing model of the components that integrate an aesthetic episode. This theory offered explanations for modern art's large number of individualized styles, innovativeness, and for the diverse aesthetic experiences it can stimulate. In addition, it described how information is processed over the time course of an aesthetic episode, within and over perceptual, cognitive and emotional components. Here, we review the current state of the model, and its relation to the major topics in empirical aesthetics today, including the nature of aesthetic emotions, the role of context, and the neural and evolutionary foundations of art and aesthetics.

I find you more attractive … after (prefrontal cortex) stimulation

Facial attractiveness seems to be perceived immediately. Neuroimaging evidence suggests that the appraisal of facial attractiveness is mediated by a network of cortical and subcortical regions, mainly encompassing the reward circuit, but also including prefrontal cortices. The prefrontal cortex is involved in high-level processes, so how does its activity relate to beauty appreciation? To shed light on this, we asked male and female participants to evaluate the attractiveness of faces of the same and other sex prior and after transcranial direct current stimulation (tDCS) over the dorsolateral prefrontal cortex (DLPFC). We found that increasing excitability via anodal tDCS in the right but not in the left DLPFC increased perceived attractiveness of the faces, irrespective of the sex of the faces or the sex of the viewers. Identical stimulation over the same site did not affect estimation of other facial characteristics, such as age, thereby suggesting that the effects of anodal tDCS over the right DLPFC might be selective for facial attractiveness, and might not generalize to decisions concerning other facial attributes. Overall, our data suggest that the right DLPFC plays a causal role in explicit judgment of facial attractiveness. The mechanisms mediating such effect are discussed.

The role of the lateral occipital cortex in aesthetic appreciation of representational and abstract paintings: a TMS study

Neuroimaging studies of aesthetic appreciation have shown that activity in the lateral occipital area (LO)-a key node in the object recognition pathway-is modulated by the extent to which visual artworks are liked or found beautiful. However, the available evidence is only correlational. Here we used transcranial magnetic stimulation (TMS) to investigate the putative causal role of LO in the aesthetic appreciation of paintings. In our first experiment, we found that interfering with LO activity during aesthetic appreciation selectively reduced evaluation of representational paintings, leaving appreciation of abstract paintings unaffected. A second experiment demonstrated that, although the perceived clearness of the images overall positively correlated with liking, the detrimental effect of LO TMS on aesthetic appreciation does not owe to TMS reducing perceived clearness. Taken together, our findings suggest that object-recognition mechanisms mediated by LO play a causal role in aesthetic appreciation of representational art.

The uncertain outcome of prefrontal tDCS

BACKGROUND

Transcranial direct current stimulation (tDCS) is increasingly used in research and clinical settings, and the dorsolateral prefrontal cortex (DLPFC) is often chosen as a target for stimulation. While numerous studies report modulation of cognitive abilities following DLPFC stimulation, the wide array of cognitive functions that can be modulated makes it difficult to predict its precise outcome.

OBJECTIVE

The present review aims at identifying and characterizing the various cognitive domains affected by tDCS over DLPFC.

METHODS

Articles using tDCS over DLPFC indexed in PubMed and published between January 2000 and January 2014 were included in the present review.

RESULTS

tDCS over DLPFC affects a wide array of cognitive functions, with sometimes apparent conflicting results.

CONCLUSION

Prefrontal tDCS has the potential to modulate numerous cognitive functions simultaneously, but to properly interpret the results, a clear a priori hypothesis is necessary, careful technical consideration are mandatory, further insights into the neurobiological impact of tDCS are needed, and consideration should be given to the possibility that some behavioral effects may be partly explained by parallel modulation of related functions.

A norming study and library of 203 dance movements

Dance stimuli have been used in experimental studies of (i) how movement is processed in the brain; (ii) how affect is perceived from bodily movement; and (iii) how dance can be a source of aesthetic experience. However, stimulus materials across--and even within--these three domains of research have varied considerably. Thus, integrative conclusions remain elusive. Moreover, concerns have been raised that the movements selected for such stimuli are qualitatively too different from the actual art form dance, potentially introducing noise in the data. We propose a library of dance stimuli which responds to the stimuli requirements and design criteria of these three areas of research, while at the same time respecting a dance art-historical perspective, offering greater ecological validity as compared with previous dance stimulus sets. The stimuli are 5-6 s long video clips, selected from genuine ballet performances. Following a number of coding experiments, the resulting stimulus library comprises 203 ballet dance stimuli coded in (i) 25 qualitative and quantitative movement variables; (ii) affective valence and arousal; and (iii) the aesthetic qualities beauty, liking, and interest. An Excel spreadsheet with these data points accompanies this manuscript, and the stimuli can be obtained from the authors upon request.