A Farewell to Art: Aesthetics as a Topic in Psychology and Neuroscience

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.

Can arts-based interventions improve health? A conceptual and methodological critique

Can art improve health and wellbeing? The claim that there is strong evidence that engaging with art ameliorates symptoms of mental and physical disorders and increases wellbeing is gaining acceptance among researchers and clinicians. This claim deserves thorough scrutiny, as it is used to justify a broad range of arts-based clinical interventions and health policies. Here we show that the evidence cited in favor of the efficacy of arts-based interventions is far weaker than it is claimed to be. First, we examined the methodological and statistical quality of studies that have been cited as proof for the efficacy of arts-based interventions. This analysis found that many of these studies lack key clinical trial features, such as defining the therapeutic agent, randomizing group assignment, controlling for patient or researcher allegiance, controlling for the effects of other concurrent interventions and medications, comparing art-based interventions to other kinds of interventions, or conducting and reporting statistical analyses appropriately. Second, in a broader examination of experiments on arts-based interventions, we looked for the experimental designs that would actually allow demonstrating that the putative health benefits owe to the effect of art. This analysis revealed that (i) most studies fail to define what art is, making it impossible to compare the effects of "art" and "non-art" stimuli and activities on health and wellbeing; (ii) fail to demonstrate that art stimuli and activities elicit a distinct class of art-induced physiological processes capable of modulating the cause of targeted disorders; (iii) and fail to manipulate neural processes believed to be mechanisms of action that could prove that arts-based interventions directly affect the etiology of disorders. These methodological weaknesses and inappropriate experimental designs cast serious doubt on claims that engaging with art can induce physiological changes that improve health and wellbeing. We discuss why arts-based interventions have neglected these problems and the ethical implications for patients who are treated with them.

A volitional account of aesthetic experience

Aesthetic experience is an altered state of consciousness characterized by a detached absorption in an aesthetic object; it is a pleasant-sometimes ecstatic-liberation from the self and its agenda. I briefly review perceptual-cognitive and affective approaches used by psychologists to understand the phenomenon and suggest the need for a volitional perspective. To illustrate the nature and scope of aesthetic experience, I discuss nine varieties, elicited by different qualities in objects and evoking distinctive responses in perceivers. Over centuries, aesthetic devices have been developed that induce the aesthetic state by manipulating such psychological mechanisms as attention, appraisal, and empathy. I propose explanations for how several important devices operate, and why they are particularly effective in individuals high in the personality trait of Openness to Experience.

Bad beauty: Aesthetic judgments are influenced by references to morally contentious content in photographs

Affective responses can influence evaluative judgments, but how are subjective beauty ratings affected by references to morally contentious elements in aesthetic stimuli? In an online experiment (N = 460), we investigated the relationship between two types of descriptive texts (Neutral vs. Negative) and the beauty ratings of 25 photographs that depict sources of environmental pollution. For each photograph, the neutral descriptive text contained general information, whereas the negative descriptive text addressed the pollution source. Further, we explored whether this relationship is mediated by changes in positive and negative affect, and how it interacts with the biospheric values of participants. Our results showed that (1) participants in the Negative Condition rated the photographs as less beautiful than in the Neutral Condition, (2) this relationship was partially mediated by changes in negative affect, and (3) in the Negative Condition, participants with higher levels of biospheric values rated the photographs as less beautiful. Our results indicate that individual values, as well as affective responses induced by aesthetic stimuli, directly influence subjective beauty. This aligns with current theoretical frameworks and fills a gap in experimental research. Finally, we discuss limitations and directions for future studies. PSYCHINFO CLASSIFICATION CODE: 2340.

Ecological decoding of visual aesthetic preference with oscillatory electroencephalogram features-A mini-review

In today's digital information age, human exposure to visual artifacts has reached an unprecedented quasi-omnipresence. Some of these cultural artifacts are elevated to the status of artworks which indicates a special appreciation of these objects. For many persons, the perception of such artworks coincides with aesthetic experiences (AE) that can positively affect health and wellbeing. AEs are composed of complex cognitive and affective mental and physiological states. More profound scientific understanding of the neural dynamics behind AEs would allow the development of passive Brain-Computer-Interfaces (BCI) that offer personalized art presentation to improve AE without the necessity of explicit user feedback. However, previous empirical research in visual neuroaesthetics predominantly investigated functional Magnetic Resonance Imaging and Event-Related-Potentials correlates of AE in unnaturalistic laboratory conditions which might not be the best features for practical neuroaesthetic BCIs. Furthermore, AE has, until recently, largely been framed as the experience of beauty or pleasantness. Yet, these concepts do not encompass all types of AE. Thus, the scope of these concepts is too narrow to allow personalized and optimal art experience across individuals and cultures. This narrative mini-review summarizes the state-of-the-art in oscillatory Electroencephalography (EEG) based visual neuroaesthetics and paints a road map toward the development of ecologically valid neuroaesthetic passive BCI systems that could optimize AEs, as well as their beneficial consequences. We detail reported oscillatory EEG correlates of AEs, as well as machine learning approaches to classify AE. We also highlight current limitations in neuroaesthetics and suggest future directions to improve EEG decoding of AE.

The future of metacognition research: Balancing construct breadth with measurement rigor

Foundational work in the psychology of metacognition identified a distinction between metacognitive knowledge (stable beliefs about one's capacities) and metacognitive experiences (local evaluations of performance). More recently, the field has focused on developing tasks and metrics that seek to identify metacognitive capacities from momentary estimates of confidence in performance, and providing precise computational accounts of metacognitive failure. However, this notable progress in formalising models of metacognitive judgments may come at a cost of ignoring broader elements of the psychology of metacognition - such as how stable meta-knowledge is formed, how social cognition and metacognition interact, and how we evaluate affective states that do not have an obvious ground truth. We propose that construct breadth in metacognition research can be restored while maintaining rigour in measurement, and highlight promising avenues for expanding the scope of metacognition research. Such a research programme is well placed to recapture qualitative features of metacognitive knowledge and experience while maintaining the psychophysical rigor that characterises modern research on confidence and performance monitoring.

Order and change in art: towards an active inference account of aesthetic experience

How to account for the power that art holds over us? Why do artworks touch us deeply, consoling, transforming or invigorating us in the process? In this paper, we argue that an answer to this question might emerge from a fecund framework in cognitive science known as predictive processing (a.k.a. active inference). We unpack how this approach connects sense-making and aesthetic experiences through the idea of an 'epistemic arc', consisting of three parts (curiosity, epistemic action and aha experiences), which we cast as aspects of active inference. We then show how epistemic arcs are built and sustained by artworks to provide us with those satisfying experiences that we tend to call 'aesthetic'. Next, we defuse two key objections to this approach; namely, that it places undue emphasis on the cognitive component of our aesthetic encounters-at the expense of affective aspects-and on closure and uncertainty minimization (order)-at the expense of openness and lingering uncertainty (change). We show that the approach offers crucial resources to account for the open-ended, free and playful behaviour inherent in aesthetic experiences. The upshot is a promising but deflationary approach, both philosophically informed and psychologically sound, that opens new empirical avenues for understanding our aesthetic encounters. This article is part of the theme issue 'Art, aesthetics and predictive processing: theoretical and empirical perspectives'.

One hundred years of neurosciences in the arts and humanities, a bibliometric review

BACKGROUND

Neuroscientific approaches have historically triggered changes in the conception of creativity and artistic experience, which can be revealed by noting the intersection of these fields of study in terms of variables such as global trends, methodologies, objects of study, or application of new technologies; however, these neuroscientific approaches are still often considered as disciplines detached from the arts and humanities. In this light, the question arises as to what evidence the history of neurotechnologies provides at the intersection of creativity and aesthetic experience.

METHODS

We conducted a century-long bibliometric analysis of key parameters in multidisciplinary studies published in the Scopus database. Screening techniques based on the PRISMA method and advanced data analysis techniques were applied to 3612 documents metadata from the years 1922 to 2022. We made graphical representations of the results applying algorithmic and clusterization processes to keywords and authors relationships.

RESULTS

From the analyses, we found a) a shift from a personality-focus quantitative analysis to a field-focus qualitative approach, considering topics such as art, perception, aesthetics and beauty; b) The locus of interest in fMRI-supported neuroanatomy has been shifting toward EEG technologies and models based on machine learning and deep learning in recent years; c) four main clusters were identified in the study approaches: humanistic, creative, neuroaesthetic and medical; d) the neuroaesthetics cluster is the most central and relevant, mediating between creativity and neuroscience; e) neuroaesthetics and neuroethics are two of the neologism that better characterizes the challenges that this convergence of studies will have in the next years.

CONCLUSIONS

Through a longitudinal analysis, we evidenced the great influence that neuroscience is having on the thematic direction of the arts and humanities. The perspective presented shows how this field is being consolidated and helps to define it as a new opportunity of great potential for future researchers.

An Attempt to Explain Visual Aesthetic Appreciation

We suggest an evolutionary based explanation for why humans are preoccupied with aesthetic aspects of visual input. Briefly, humans evolved to be swayed by positive and negative feelings in the form of rewards and punishments, and to pursue situations that induce rewards, even when the feeling is not sufficiently strong to be recognized as a reward. The brain is designed to offer rewards when a person focuses on certain types of visual stimuli. For example, warm colors are typically pleasant because they are associated with edible fruits, and complex images appeal to curiosity. At some point people began exploiting these types of brain rewards by beautifying objects and creating art. The utility of objects, and the associative (or communicative) aspects of art, may dominate the design, but the artist tends to add aesthetic elements. These elements imply visual aspects that do not add to the functional value or evoke memories or associations based on easily recognized features in the picture. The adaptive rationale for the rewards offered by the aesthetic elements should help explain human aesthetic appreciation.

The role of opioid transmission in music-induced pleasure

Studies conducted in rodents indicate a crucial role of the opioid circuit in mediating objective hedonic reactions to primary rewards. However, it remains unclear whether opioid transmission is also essential to experience pleasure with more abstract rewards, such as music. We addressed this question using a double-blind within-subject pharmacological design in which opioid levels were up- and downregulated by administering an opioid agonist (oxycodone) and antagonist (naltrexone), respectively, before healthy participants (n = 21) listened to music. Participants also performed a monetary incentive delay (MID) task to control for the effectiveness of the treatment and the specificity of the effects. Our results revealed that the pharmacological intervention did not modulate subjective reports of pleasure, nor the occurrence of chills. On the contrary, psychophysiological (objective) measures of emotional arousal, such as skin conductance responses (SCRs), were bidirectionally modulated in both the music and MID tasks. This modulation specifically occurred during reward consumption, with greater pleasure-related SCR following oxycodone than naltrexone. These findings indicate that opioid transmission does not modulate subjective evaluations but rather affects objective reward-related psychophysiological responses. These findings raise new caveats about the role of the opioidergic system in the modulation of pleasure for more abstract or cognitive forms of rewarding experiences, such as music.

Positive cyberpsychology as a field of study of the well-being of people interacting with and via technology

The aim of the article is to postulate introducing and developing positive cyberpsychology (PCyb) as a subdiscipline of cyberpsychology, which emerges at the intersection of cyberpsychology, positive psychology, and well-being informed design, and focuses on studying determinants of human well-being through interactions with and via technology. The article presents the rationale for considering the emergence of PCyb based on the importance of research on the positive transformation of people in the era of progressive digitalization and cyborgization, and the growing partnership of cyberpsychology, positive psychology, and well-being informed design in the form of paradigms and ongoing research. Moreover, it highlights the need to reframe cyberpsychology dominated by the study of the "dark side" of technology and the need to integrate and increase the "visibility" of research results on the beneficial effects of technology. The article also accentuates the opening perspective of a more in-depth analysis of the positive transformation process than the one existing within the well-being informed design and underlines a broader plan of innovation use than is taken into account in cyberpsychology and positive psychology. Lastly, it discusses the use of the results of research conducted within PCyb in the design of new technologies, consulting, and education, as well as the possibility of strengthening the voice of psychologists in the debate about the future of humans functioning in the constantly changing technosphere.

What ugly and beautiful photographs reveal about COVID-19 lockdown experiences, everyday aesthetics and photography aesthetics

Against the backdrop of the COVID-19 pandemic, which restricted our daily (visual) experiences, we asked people to take an ugly and beautiful photograph from within their homes. In total, 284 photographs (142 ugly and 142 beautiful) and accompanying statements were submitted and brought to light an intimate portrait of how participants were experiencing their (lockdown) home environment. Results revealed an aesthetic preference for (living) nature. Beauty and ugliness were also connected to good versus bad views, mess versus cosiness, unflattering versus flattering portraits and positive versus negative (COVID-19) emotions. In terms of photography strategies, editing and colour were important for beautiful photographs, whereas a lack of effort and sharpness showed up relatively more in ugly photographs. A follow-up study revealed that other viewers' (n = 86) aesthetic judgements of the photographs were largely in line with the original submissions, and confirmed several of the themes. Overall, our study provides a unique photographic window on our everyday aesthetic experiences at home during the COVID-19 lockdown.

An interpretable approach for automatic aesthetic assessment of remote sensing images

The increase of remote sensing images in recent decades has resulted in their use in non-scientific fields such as environmental protection, education, and art. In this situation, we need to focus on the aesthetic assessment of remote sensing, which has received little attention in research. While according to studies on human brain's attention mechanism, certain areas of an image can trigger visual stimuli during aesthetic evaluation. Inspired by this, we used convolutional neural network (CNN), a deep learning model resembling the human neural system, for image aesthetic assessment. So we propose an interpretable approach for automatic aesthetic assessment of remote sensing images. Firstly, we created the Remote Sensing Aesthetics Dataset (RSAD). We collected remote sensing images from Google Earth, designed the four evaluation criteria of remote sensing image aesthetic quality-color harmony, light and shadow, prominent theme, and visual balance-and then labeled the samples based on expert photographers' judgment on the four evaluation criteria. Secondly, we feed RSAD into the ResNet-18 architecture for training. Experimental results show that the proposed method can accurately identify visually pleasing remote sensing images. Finally, we provided a visual explanation of aesthetic assessment by adopting Gradient-weighted Class Activation Mapping (Grad-CAM) to highlight the important image area that influenced model's decision. Overall, this paper is the first to propose and realize automatic aesthetic assessment of remote sensing images, contributing to the non-scientific applications of remote sensing and demonstrating the interpretability of deep-learning based image aesthetic evaluation.

Music and Brain Circuitry: Strategies for Strengthening Evidence-Based Research for Music-Based Interventions

The neuroscience of music and music-based interventions (MBIs) is a fascinating but challenging research field. While music is a ubiquitous component of every human society, MBIs may encompass listening to music, performing music, music-based movement, undergoing music education and training, or receiving treatment from music therapists. Unraveling the brain circuits activated and influenced by MBIs may help us gain better understanding of the therapeutic and educational values of MBIs by gathering strong research evidence. However, the complexity and variety of MBIs impose unique research challenges. This article reviews the recent endeavor led by the National Institutes of Health to support evidence-based research of MBIs and their impact on health and diseases. It also highlights fundamental challenges and strategies of MBI research with emphases on the utilization of animal models, human brain imaging and stimulation technologies, behavior and motion capturing tools, and computational approaches. It concludes with suggestions of basic requirements when studying MBIs and promising future directions to further strengthen evidence-based research on MBIs in connections with brain circuitry.SIGNIFICANCE STATEMENT Music and music-based interventions (MBI) engage a wide range of brain circuits and hold promising therapeutic potentials for a variety of health conditions. Comparative studies using animal models have helped in uncovering brain circuit activities involved in rhythm perception, while human imaging, brain stimulation, and motion capture technologies have enabled neural circuit analysis underlying the effects of MBIs on motor, affective/reward, and cognitive function. Combining computational analysis, such as prediction method, with mechanistic studies in animal models and humans may unravel the complexity of MBIs and their effects on health and disease.

Characterizing Dynamic Neural Representations of Scene Attractiveness

Aesthetic experiences during natural vision are varied: They can arise from viewing scenic landscapes, interesting architecture, or attractive people. Recent research in the field of neuroaesthetics has taught us a lot about where in the brain such aesthetic experiences are represented. Much less is known about when such experiences arise during the cortical processing cascade. Particularly, the dynamic neural representation of perceived attractiveness for rich natural scenes is not well understood. Here, I present data from an EEG experiment, in which participants provided attractiveness judgments for a set of diverse natural scenes. Using multivariate pattern analysis, I demonstrate that scene attractiveness is mirrored in early brain signals that arise within 200 msec of vision, suggesting that the aesthetic appeal of scenes is first resolved during perceptual processing. In more detailed analyses, I show that even such early neural correlates of scene attractiveness are partly related to interindividual variation in aesthetic preferences and that they generalize across scene contents. Together, these results characterize the time-resolved neural dynamics that give rise to aesthetic experiences in complex natural environments.

A generalised semantic cognition account of aesthetic experience

Given that aesthetic experiences typically involve extracting meaning from environment, we believe that semantic cognition research has much to offer the field of neuroaesthetics. In the current paper, we propose a generalised framework that is inspired by the semantic cognition literature and that treats aesthetic experience as just one example of how meaning accumulates. According to our framework, aesthetic experiences are underpinned by the same cognitive and brain systems that are involved in deriving meaning from the environment in general, such as modality-specific conceptual representations and controlled processes for retrieving the appropriate type of information. Our generalised semantic cognition view of aesthetic experience has substantial implications for theory development: it leads to novel, falsifiable predictions and it reconfigures foundational assumptions regarding the structure of the cognitive and brain systems that may be involved in aesthetic experiences.

Does art reduce pain and stress? A registered report protocol of investigating autonomic and endocrine markers of music, visual art, and multimodal aesthetic experience

The pain- and stress-reducing effects of music are well-known, but the effects of visual art, and the combination of these two, are much less investigated. We aim to (1) investigate the pain- and (2) stress-reducing effects of multimodal (music + visual art) aesthetic experience as we expect this to have stronger effects than a single modal aesthetic experience (music/ visual art), and in an exploratory manner, (3) investigate the underlying mechanisms of aesthetic experience, and the (4) individual differences. In a repeated-measures design (music, visual art, multimodal aesthetic experience, control) participants bring self-selected “movingly beautiful” visual artworks and pieces of music to the lab, where pain and stress are induced by the cold pressor test. Activity of the pain and stress responsive systems are measured by subjective reports, autonomic (electrocardiography, electrodermal activity, salivary alpha-amylase) and endocrine markers (salivary cortisol).

How poetry evokes emotions

Poetry evokes emotions. It does so, according to the theory we present, from three sorts of simulation. They each can prompt emotions, which are communications both within the brain and among people. First, models of a poem's semantic contents can evoke emotions as do models that occur in depictions of all kinds, from novels to perceptions. Second, mimetic simulations of prosodic cues, such as meter, rhythm, and rhyme, yield particular emotional states. Third, people's simulations of themselves enable them to know that they are engaged with a poem, and an aesthetic emotion can occur as a result. The three simulations predict certain sorts of emotion, e.g., prosodic cues can evoke basic emotions of happiness, sadness, anger, and anxiety. Empirical evidence corroborates the theory, which we relate to other accounts of poetic emotions.

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,.

Neural responses to facial attractiveness in the judgments of moral goodness and moral beauty

The judgments of moral goodness and moral beauty objectively refer to the perception and evaluation of moral traits, which are generally influenced by facial attractiveness. For centuries, people have equated beauty with the possession of positive qualities, but it is not clear whether the association between beauty and positive qualities exerts a similarly implicit influence on people's responses to moral goodness and moral beauty, how it affects those responses, and what is the neural basis for such an effect. The present study is the first to examine the neural responses to facial attractiveness in the judgments of moral goodness and moral beauty. We found that beautiful faces in both moral judgments activated the left ventral occipitotemporal cortices sensitive to the geometric configuration of the faces, demonstrating that both moral goodness and moral beauty required the automatic visual analysis of geometrical configuration of attractive faces. In addition, compared to beautiful faces during moral goodness judgment, beautiful faces during moral beauty judgment induced unique activity in the ventral medial prefrontal cortex and midline cortical structures involved in the emotional-valenced information about attractive faces. The opposite comparison elicited specific activity in the left superior temporal cortex and premotor area, which play a critical role in the recognition of facial identity. Our results demonstrated that the neural responses to facial attractiveness in the process of higher order moral decision-makings exhibit both task-general and task-specific characteristics. Our findings contribute to the understanding of the essence of the relationship between morality and aesthetics.

The Primacy of Beauty in Music, Visual Arts and Literature: Not Just a Replication Study in the Greek Language Exploring the Effects of Verbal Fluency, Age and Gender

Research on aesthetic descriptors of art in different languages is scarce. The aim of the present study was to elucidate the conceptual structure of aesthetic experiences of three forms of art (music, visual arts and literature) in the Greek language, which has not been explored so far. It was further aimed to study if biological and cognitive factors such as age and gender might produce differences in art appreciation. A total of 467 younger and older individuals from Greece were asked to generate verbal descriptors (adjectives) in free word-listing conditions in order to collect terms reflecting the aesthetics-related semantic field of art. The capacity of verbal memory was controlled by using a battery of neuropsychological tests. Analysis of generated adjectives’ frequency and salience revealed that ‘beautiful’ was the most prominent descriptor that was selected with a distinctive primacy for all three forms of arts. The primacy of ‘beautiful’ was significantly more pronounced for visual arts relative to music and literature. Although the aging-related decline of verbal capacity was similar for males and females, the primacy of ‘beautiful’ depended on age and gender by being more emphasized for young females than males, and for old males than females. Analysis of secondary descriptors and pairs of adjectives revealed that affective and hedonic experiences are essentially fixed in the semantic field of art reflection. It is concluded that although the concept of the aesthetics seems to be diversified and rich, a clear primacy of beauty is found for the Greek cultural environment and across different forms of art. The results also highlight the presence of complex influences of biological and cognitive factors on aesthetic art experiences.

Citation Classics in Consumer Neuroscience, Neuromarketing and Neuroaesthetics: Identification and Conceptual Analysis

Neuromarketing, consumer neuroscience and neuroaesthetics are a broad research area of neuroscience with an extensive background in scientific publications. Thus, the present study aims to identify the highly cited papers (HCPs) in this research field, to deliver a summary of the academic work produced during the last decade in this area, and to show patterns, features, and trends that define the past, present, and future of this specific area of knowledge. The HCPs show a perspective of those documents that, historically, have attracted great interest from a research community and that could be considered as the basis of the research field. In this study, we retrieved 907 documents and analyzed, through H-Classics methodology, 50 HCPs identified in the Web of Science (WoS) during the period 2010-2019. The H-Classic approach offers an objective method to identify core knowledge in neuroscience disciplines such as neuromarketing, consumer neuroscience, and neuroaesthetics. To accomplish this study, we used Bibliometrix R Package and SciMAT software. This analysis provides results that give us a useful insight into the development of this field of research, revealing those scientific actors who have made the greatest contribution to its development: authors, institutions, sources, countries as well as documents and references.

Seeking the "Beauty Center" in the Brain: A Meta-Analysis of fMRI Studies of Beautiful Human Faces and Visual Art

During the past two decades, cognitive neuroscientists have sought to elucidate the common neural basis of the experience of beauty. Still, empirical evidence for such common neural basis of different forms of beauty is not conclusive. To address this question, we performed an activation likelihood estimation (ALE) meta-analysis on the existing neuroimaging studies of beauty appreciation of faces and visual art by nonexpert adults (49 studies, 982 participants, meta-data are available at https://osf.io/s9xds/ ). We observed that perceiving these two forms of beauty activated distinct brain regions: While the beauty of faces convergently activated the left ventral striatum, the beauty of visual art convergently activated the anterior medial prefrontal cortex (aMPFC). However, a conjunction analysis failed to reveal any common brain regions for the beauty of visual art and faces. The implications of these results are discussed.