Complementarity As Generative Principle: A Thought Pattern for Aesthetic Appreciations and Cognitive Appraisals in General

Cognitive entailments among "the true, the good, the beautiful": a mainland Chinese sample

Philosophers and cognitive scientists have long debated about the entailments among "the true, the good, the beautiful" (TGB hereafter). In the current article, we directly probed mainland Chinese subjects' cognitive entailment among TGB. Using 1-7 (Experiment 1) and 1-6 (Experiment 2) Likert scales, we convergently observed that mainland Chinese subjects tend to think that the beautiful is not the true, and that the good is the beautiful. Additionally, Experiment 1 also revealed that mainland Chinese subjects tend to think that the true is not the beautiful. Some of these results may reflect anthropological universals, and some others may reflect cultural specifics. Experiment 3 revealed that the most popular translation of TGB in Chinese into English is rather "the true, the kind, the beautiful", suggesting that the three concepts mapped to TGB in Chinese is not one-to-one mapped to the three concepts mapped to TGB in English. Therefore, caution should be exercised when making cross-linguistic or cross-cultural comparisons about TGB in the future.

Holistic temporal order judgment of tones requires top-down disentanglement

How temporal sequence gets organized is a central topic in cognitive processing. In a high-frequency time window of tens of milliseconds, the temporal order is reconstructed rather than mirroring the sequence of events objectively in physical time. Two separate phases or strategies, a holistic coding phase that groups successively presented events as a gestalt and a disentanglement phase that decodes the temporal order of discrete events from the gestalt representation, may presumably be involved in the perception of temporal order across different modalities. With a temporal order adaptation protocol of pure tones using glide adaptors, the present study demonstrated a dissociation between constant discriminability and shifted subjective simultaneity across different adaptor directions. While discriminability of temporal order was not adapted by glides, revealing a constant coding sensitivity of different asynchronies, the shift of subjective simultaneity indicated the recalibration of a top-down disentanglement of the holistic processing under the influence of glide adaptors. The results suggest a dual-phase holistic processing in temporal order perception, supporting two separate cognitive strategies for event timing on the sub-second level.

Symmetric in the striate but asymmetric in the extrastriate cortex when processing three-quarter faces: Neural underpinnings for aesthetic appreciations

Faces and their aesthetic appreciation are a core element of social interaction. Although studies have been made on facial processing when looking at faces with different perspectives, a direct comparison of faces in the left to the right perspective is missing. Portraits in classical Western art indicate a preference of the left compared to the right perspective, but the neural underpinnings of such an asymmetry still have to be clarified. Using functional magnetic resonance imaging, the current study focuses on the processing of three-quarter faces seen with different perspectives. Seventeen participants were asked to passively look at photographs of six male and six female faces with a neutral expression; the photographs were taken from the left, right, and frontal perspectives while keeping their focus on the eyes. The results showed that specific brain areas were involved in processing the three-quarter faces in either symmetric or asymmetric ways. Viewing left and right three-quarter faces resulted in two mirror-like activations in the striate cortex corresponding to the symmetric layout of the left and right perspectives. Viewing the left face resulted additionally in an enhanced activation also in the left extrastriate cortex. The right perspective of male faces elicited a lower activation compared to other perspectives in face-selective areas of the brain. Our findings suggest that the preference of the left three-quarter face emerges already in the early visual pathway presumably prior to facial identification, emotional processing, and aesthetic appreciation. Our observations may have general importance in disentangling different neural components and processing stages in the spatiotemporal characteristics of artistic expressions.

Composing in the scanner: A functional magnetic resonance imaging single case study on visual and auditory imagery

"Seeing with the mind's eye" and "hearing with the mind's ear" are two common indicators of musical imagery, and they can be referred to as "visual" and "auditory" musical imagery. However, a question remains open, that is, whether visual and auditory imagery of the same musical composition share the same neural mechanisms. Moreover, how can neural mechanisms guarantee the temporal flow of "musical imagery"? To answer these questions, we report here a preliminary single case study using functional magnetic resonance imaging with an eminent composer who imagined one of his compositions in two states of mind as compared to his resting-state activity. In the visual imagery condition, he imagined visually the score of his composition in a continuous way. In the auditory imagery condition, he imagined auditorily the same musical composition with pauses. In spite of the modality and temporal differences, the two types of mental imagery showed similar temporal durations for the same musical composition. However, different patterns of neural activation were observed for visual and auditory imagery with one important exception, that is, a common activation pattern was observed in the left medial temporal gyrus in both visual and auditory imagery. We speculate that the left medial temporal gyrus may play an important role in the creation of apparent temporal continuity in musical imagery and perhaps even in conscious information processing in general.

A Review of EEG and fMRI Measuring Aesthetic Processing in Visual User Experience Research

In human-computer interaction, the visual interaction of user experience (UX) and user interface (UI) plays an important role in enriching the quality of daily life. The purpose of our study analyzes the use of brain-computer interface (BCI), wearable technology, and functional magnetic resonance imaging (fMRI) to explore the aesthetic processing of visual neural response to UI and UX designs. Specifically, this review aims to understand neuroaesthetic processing knowledge, aesthetic appreciation models, and the ways in which visual brain studies can improve the quality of current and future UI and UX designs. Recent research has found that subjective evaluations of aesthetic appreciation produce different results for objective evaluations of brain research analysis. We applied SWOT analysis and examined the advantages and disadvantages of both evaluation methods. Furthermore, we conducted a traditional literature review on topics pertaining to the use of aesthetic processing knowledge in the visual interaction field in terms of art therapy, information visualization, website or mobile applications, and other interactive platforms. Our main research findings from current studies have helped and motivated researchers and designers to use convincing scientific knowledge of brain event-related potential, electroencephalography, and fMRI to understand aesthetic judgment. The key trend finds that many designers, artists, and engineers use artistic BCI technology in the visual interaction experience. Herein, the scientific methods applied in the aesthetic appreciation to human-computer interface are summarized, and the influence of the latest wearable brain technology on visual interaction design is discussed. Furthermore, current possible research entry points for aesthetics, usability, and creativity in UI and UX designs are explicated. The study results have implications for the visual user experience research domain as well as for interaction industries, which produce interactive projects to improve people's daily lives.

Aristotle's dream: Evolutionary and neural aspects of aesthetic communication in the arts

Art in general perception is something that transcends our notion of reality. In view of the earliest findings in Paleolithic sites, their abstract appearance and sometimes ceremonial context increased their status of a secret language. Even the first figurative cave paintings remained in a context of an encoded semantic whole. The highly symbolic value of art seemed invulnerable. It was just the claim for "mimesis" in Greek antiquity (Plato) that urged artists to "realistically" depict what can be seen-as to stay in track of eternal messages behind. This devaluated the artistic oeuvre to a purely imitating craft and had to overcome at once several inherent obstacles. First, that reality (the phenomenal world) is in general only a pale reflection of what lays behind (Platonic ideas) and second, that the human eye, unlike the human mind, cannot penetrate to more than ephemeral impressions. Moreover, it mixed up reality with what we are able to see (i.e. visual perception), thus supposing a pinpoint representation of the world by our senses. Aristotle was the first to qualify art as picturing more than we usually are meant to see, filling the gap between the sensual and the spiritual world. Aristotelian aesthetics includes concepts of reduction and selection of composition and emotion, thus a summarized view within any performance of poetics or painting. And it took centuries to close the gap between natural and aesthetic perception or art. Life sciences in the 20th century discovered the evolutionary basis of sensory perception as being highly biased and organized, concept as emotion-driven and thus, mentally equipped as well. This sets a new approach in our understanding of perception, art, and aesthetics as an ongoing communication in process on common bases. Art may cooperate or disagree, but never can cut the nexus with its perceptual prejudices and substrate.

Aesthetic principles, the arts, and the interpretation of culture

Culture is symbolism. Symbols allow a distance between perception and interpretation and create space for intentional action. Science, the arts, and religions are different cultural strategies to transcend sensual perception and open up the search and representation of structures and relations in and yet beyond sensual experience. The arts demonstrate, interpret, and invent such connectivities. Knowing, feeling, and representing hidden structures influence the very ways of perception, which are categorized in theories of perception called aesthetics. The processual and non-dual character of perception can be modeled not only on the basis of the well-known distinctions in European epistemologies (based on Platonic and Aristotelian modes of thinking) but on the Buddhist theory of skandhas, which might be able to transcend the dualism of matter and mind. The dynamics of perception will be explained on this basis using the categories of beauty and sublime and veiling and revealing (unveiling). The central category of aesthetic processes is similarity or variation, being expressed in fractal proportions and relationships in the processes of knowing and feeling.

Aesthetics as a common denominator for moral and commercial judgments

Using fMRI, a core evaluation mechanism was found for aesthetic judgments with add-on neural activities for moral and commercial judgments. We propose that aesthetic evaluations serve as a basic core mechanism implicitly for moral and commercial judgments.

Rembrandt portraits: Implicitly detecting the original perspective

The original left-front perspective of portraits by Rembrandt was detected by Chinese students with a higher recognition rate as compared to the right-front perspective or the mirror reversals of both perspectives. Oculomotor patterns indicated that the eye regions provided essential information for such implicit detection.

Aesthetic Experiences Across Cultures: Neural Correlates When Viewing Traditional Eastern or Western Landscape Paintings

Compared with traditional Western landscape paintings, Chinese traditional landscape paintings usually apply a reversed-geometric perspective and concentrate more on contextual information. Using functional magnetic resonance imaging (fMRI), we discovered an intracultural bias in the aesthetic appreciation of Western and Eastern traditional landscape paintings in European and Chinese participants. When viewing Western and Eastern landscape paintings in an fMRI scanner, participants showed stronger brain activation to artistic expressions from their own culture. Europeans showed greater activation in visual and sensory-motor brain areas, regions in the posterior cingulate cortex (PCC), and hippocampus when viewing Western compared to Eastern landscape paintings. Chinese participants exhibited greater neural activity in the medial and inferior occipital cortex and regions of the superior parietal lobule in response to Eastern compared to Western landscape paintings. On the behavioral level, the aesthetic judgments also differed between Western and Chinese participants when viewing landscape paintings from different cultures; Western participants showed for instance higher valence values when viewing Western landscapes, while Chinese participants did not show this effect when viewing Chinese landscapes. In general, our findings offer differentiated support for a cultural modulation at the behavioral level and in the neural architecture for high-level aesthetic appreciation.

East of West, West of East: a matter of global and local identity

Research is a very personal matter. On the basis of experiences in different countries with researchers from different cultures over many years, some observations will be described. The conceptual frame of this attempt is to look for anthropological universals and cultural specifics. Much can be learned from spatial representations in the arts. Whereas in the West since Renaissance time the central perspective has become dominant in visual art, in Eastern landscape paintings the "floating view" is typical. The claim that the central perspective corresponds to geometric laws and matches how we see the world is misleading for at least two reasons: It violates mechanisms of size constancy, and the visual world is spatially reduced in pictures to the perifoveal region only. Research on spatial attention has disclosed two different attentional systems being responsible either for near-fovea vision or for the far periphery. This fundamental principle as a global characteristic of visual processing is neglected in Western art. In Eastern art with a floating view geometric laws are violated, and different potential perspectives are integrated within a holistic pattern. The semantics of what shall be expressed becomes important irrespective of physical parameters. The latter may also create the unique phenomenon of becoming subjectively part of the picture confirming personal identity. Cultural specifics like in the arts (what one might expect) can surprisingly also be observed in theoretical considerations about visual processing. Whereas in the tradition of Western science visual percepts are built up with local elements like feature detectors, in an important Chinese theory global topological features are analyzed first. An important task of the brain is to create the identity of a percept on the basis of spatially and temporally distributed neural activities. It is, thus, an important theoretical question how to deal with the challenge to create and maintain the identity of a percept for some time. It is suggested that one should leave behind a monocausal reasoning for such explanations but adopt for analytical strategies the concept of complementarity as a generative principle.