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  1. (1 other version)Emotional responses to music: The need to consider underlying mechanisms.Patrik N. Juslin & Daniel Västfjäll - 2008 - Behavioral and Brain Sciences 31 (5):559-575.
    Research indicates that people value music primarily because of the emotions it evokes. Yet, the notion of musical emotions remains controversial, and researchers have so far been unable to offer a satisfactory account of such emotions. We argue that the study of musical emotions has suffered from a neglect of underlying mechanisms. Specifically, researchers have studied musical emotions without regard to how they were evoked, or have assumed that the emotions must be based on the mechanism for emotion induction, a (...)
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  • (1 other version)Precis of knowledge and the flow of information.Fred I. Dretske - 1983 - Behavioral and Brain Sciences 6 (1):55-90.
    A theory of information is developed in which the informational content of a signal (structure, event) can be specified. This content is expressed by a sentence describing the condition at a source on which the properties of a signal depend in some lawful way. Information, as so defined, though perfectly objective, has the kind of semantic property (intentionality) that seems to be needed for an analysis of cognition. Perceptual knowledge is an information-dependent internal state with a content corresponding to the (...)
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  • The artful mind meets art history: Toward a psycho-historical framework for the science of art appreciation.Nicolas J. Bullot & Rolf Reber - 2013 - Behavioral and Brain Sciences 36 (2):123-137.
    Research seeking a scientific foundation for the theory of art appreciation has raised controversies at the intersection of the social and cognitive sciences. Though equally relevant to a scientific inquiry into art appreciation, psychological and historical approaches to art developed independently and lack a common core of theoretical principles. Historicists argue that psychological and brain sciences ignore the fact that artworks are artifacts produced and appreciated in the context of unique historical situations and artistic intentions. After revealing flaws in the (...)
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  • Sensation seeking: A comparative approach to a human trait.Marvin Zuckerman - 1984 - Behavioral and Brain Sciences 7 (3):413-434.
    A comparative method of studying the biological bases of personality compares human trait dimensions with likely animal models in terms of genetic determination and common biological correlates. The approach is applied to the trait of sensation seeking, which is defined on the human level by a questionnaire, reports of experience, and observations of behavior, and on the animal level by general activity, behavior in novel situations, and certain types of naturalistic behavior in animal colonies. Moderately high genetic determination has been (...)
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  • On mechanisms of cultural evolution, and the evolution of language and the common law.Michael T. Ghiselin - 1982 - Behavioral and Brain Sciences 5 (1):11-11.
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  • Emotion, cognitive structure, and action tendency.Nico H. Frijda - 1987 - Cognition and Emotion 1 (2):115-143.
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  • Neurocognitive poetics: methods and models for investigating the neuronal and cognitive-affective bases of literature reception.Arthur M. Jacobs - 2015 - Frontiers in Human Neuroscience 9:138374.
    A long tradition of research including classical rhetoric, esthetics and poetics theory, formalism and structuralism, as well as current perspectives in (neuro)cognitive poetics has investigated structural and functional aspects of literature reception. Despite a wealth of literature published in specialized journals like Poetics, however, still little is known about how the brain processes and creates literary and poetic texts. Still, such stimulus material might be suited better than other genres for demonstrating the complexities with which our brain constructs the world (...)
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  • Aesthetics and Predictive Processing: Grounds and Prospects of a Fruitful Encounter.Jacopo Frascaroli, Helmut Leder, Elvira Brattico & Sander Van de Cruys - 2024 - Philosophical Transactions of the Royal Society B 379 (20220410).
    In the last few years, a remarkable convergence of interests and results has emerged between scholars interested in the arts and aesthetics from a variety of perspectives and cognitive scientists studying the mind and brain within the predictive processing (PP) framework. This convergence has so far proven fruitful for both sides: while PP is increasingly adopted as a framework for understanding aesthetic phenomena, the arts and aesthetics, examined under the lens of PP, are starting to be seen as important windows (...)
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  • The uncanny advantage of using androids in cognitive and social science research.Karl F. MacDorman & Hiroshi Ishiguro - 2006 - Interaction Studies. Social Behaviour and Communication in Biological and Artificial Systemsinteraction Studies / Social Behaviour and Communication in Biological and Artificial Systemsinteraction Studies 7 (3):297-337.
    The development of robots that closely resemble human beings can contribute to cognitive research. An android provides an experimental apparatus that has the potential to be controlled more precisely than any human actor. However, preliminary results indicate that only very humanlike devices can elicit the broad range of responses that people typically direct toward each other. Conversely, to build androids capable of emulating human behavior, it is necessary to investigate social activity in detail and to develop models of the cognitive (...)
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  • Does play matter? Functional and evolutionary aspects of animal and human play.Peter K. Smith - 1982 - Behavioral and Brain Sciences 5 (1):139-155.
    In this paper I suggest that play is a distinctive behavioural category whose adaptive significance calls for explanation. Play primarily affords juveniles practice toward the exercise of later skills. Its benefits exceed its costs when sufficient practice would otherwise be unlikely or unsafe, as is particularly true with physical skills and socially competitive ones. Manipulative play with objects is a byproduct of increased intelligence, specifically selected for only in a few advanced primates, notably the chimpanzee.The adaptiveness of play in pongid (...)
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  • (1 other version)Are species intelligent?: Not a yes or no question.Jonathan Schull - 1990 - Behavioral and Brain Sciences 13 (1):63-75.
    Plant and animal species are information-processing entities of such complexity, integration, and adaptive competence that it may be scientifically fruitful to consider them intelligent. The possibility arises from the analogy between learning and evolution, and from recent developments in evolutionary science, psychology and cognitive science. Species are now described as spatiotemporally localized individuals in an expanded hierarchy of biological entities. Intentional and cognitive abilities are now ascribed to animal, human, and artificial intelligence systems that process information adaptively, and that manifest (...)
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  • Combining universal beauty and cultural context in a unifying model of visual aesthetic experience.Christoph Redies - 2015 - Frontiers in Human Neuroscience 9.
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  • Play, Skill, and the Origins of Perceptual Art.Mohan Matthen - 2015 - British Journal of Aesthetics 55 (2):173-197.
    Art is universal across cultures. Yet, it is biologically expensive because of the energy expended and reduced vigilance. Why do humans make and contemplate it? This paper advances a thesis about the psychological origins of perceptual art. First, it delineates the aspects of art that need explaining: not just why it is attractive, but why fine execution and form—which have to do with how the attraction is achieved—matter over and above attractiveness. Second, it states certain constraints: we need to explain (...)
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  • Probaility and information.Patrick Suppes - 1983 - Behavioral and Brain Sciences 6 (1):81-82.
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  • Curiosity and the pleasures of learning: Wanting and liking new information.Jordan Litman - 2005 - Cognition and Emotion 19 (6):793-814.
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  • Why information?Freg I. Dretske - 1983 - Behavioral and Brain Sciences 6 (1):82-90.
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  • Content: Semantic and information-theoretic.Paul M. Churchland & Patricia S. Churchland - 1983 - Behavioral and Brain Sciences 6 (1):67-68.
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  • Liking versus Complexity: Decomposing the Inverted U-curve.Yağmur Güçlütürk, Richard H. A. H. Jacobs & Rob van Lier - 2016 - Frontiers in Human Neuroscience 10.
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  • What makes a metaphor literary? Answers from two computational studies.Arthur M. Jacobs & Annette Kinder - 2018 - Metaphor and Symbol 33 (2):85-100.
    ABSTRACTIn this article we investigate structural differences between “literary” metaphors created by renowned poets and “nonliterary” ones imagined by non-professional authors from Katz et al.’s 1988 corpus. We provide data from quantitative narrative analyses of the altogether 464 metaphors on over 70 variables, including surface features like metaphor length, phonological features like sonority score, or syntactic-semantic features like sentence similarity. In a first computational study using machine learning tools we show that Katz et al.’s literary metaphors can be successfully discriminated (...)
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  • The aesthetic stance - on the conditions and consequences of becoming a beholder.Maria Brincker - 2014 - In Alfonsina Scarinzi (ed.), Aesthetics and the Embodied Mind: Beyond Art Theory and the Cartesian Mind-Body Dichotomy. Dordrecht: Springer. pp. 117-138.
    What does it mean to be an aesthetic beholder? Is it different than simply being a perceiver? Most theories of aesthetic perception focus on 1) features of the perceived object and its presentation or 2) on psychological evaluative or emotional responses and intentions of perceiver and artist. In this chapter I propose that we need to look at the process of engaged perception itself, and further that this temporal process of be- coming a beholder must be understood in its embodied, (...)
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  • Some untoward consequences of Dretske's “causal theory” of information.Kenneth M. Sayre - 1983 - Behavioral and Brain Sciences 6 (1):78-79.
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  • Taxonomy of Individual Variations in Aesthetic Responses to Fractal Patterns.Branka Spehar, Nicholas Walker & Richard P. Taylor - 2016 - Frontiers in Human Neuroscience 10.
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  • IV—Aesthetic Experience as a Metacognitive Feeling? A Dual-Aspect View.Jérôme Dokic - 2016 - Proceedings of the Aristotelian Society 116 (1):69-88.
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  • Can information be objectivized?Ralph Norman Haber - 1983 - Behavioral and Brain Sciences 6 (1):70-71.
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  • Liking for happy- and sad-sounding music: Effects of exposure.E. Glenn Schellenberg, Isabelle Peretz & Sandrine Vieillard - 2008 - Cognition and Emotion 22 (2):218-237.
    We examined liking for happy- and sad-sounding music as a function of exposure, which varied both in quantity (number of exposures) and in quality (focused or incidental listening). Liking ratings were higher for happy than for sad music after focused listening, but similar after incidental listening. In the incidental condition, liking ratings increased linearly as a function of exposure. In the focused condition, liking ratings were an inverted U-shaped function of exposure, with initial increases in liking (after 2 exposures) followed (...)
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  • The Mere Exposure Phenomenon: A Lingering Melody by Robert Zajonc.Richard L. Moreland & Sascha Topolinski - 2010 - Emotion Review 2 (4):329-339.
    The mere exposure phenomenon (repeated exposure to a stimulus is sufficient to improve attitudes toward that stimulus) is one of the most inspiring phenomena associated with Robert Zajonc’s long and productive career in social psychology. In the first part of this article, Richard Moreland (who was trained by Zajonc in graduate school) describes his own work on exposure and learning, and on the relationships among familiarity, similarity, and attraction in person perception. In the second part, Sascha Topolinski (a recent graduate (...)
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  • Beauty and the beholder: the role of visual sensitivity in visual preference.Branka Spehar, Solomon Wong, Sarah van de Klundert, Jessie Lui, Colin W. G. Clifford & Richard P. Taylor - 2015 - Frontiers in Human Neuroscience 9.
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  • Are the sources of interest the same for everyone? Using multilevel mixture models to explore individual differences in appraisal structures.Paul J. Silvia, Robert A. Henson & Jonathan L. Templin - 2009 - Cognition and Emotion 23 (7):1389-1406.
    How does personality influence the relationship between appraisals and emotions? Recent research suggests individual differences in appraisal structures: people may differ in an emotion's appraisal pattern. We explored individual differences in interest's appraisal structure, assessed as the within-person covariance of appraisals with interest. People viewed images of abstract visual art and provided ratings of interest and of interest's appraisals (novelty–complexity and coping potential) for each picture. A multilevel mixture model found two between-person classes that reflected distinct within-person appraisal styles. For (...)
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  • On the Relation between the General Affective Meaning and the Basic Sublexical, Lexical, and Inter-lexical Features of Poetic Texts—A Case Study Using 57 Poems of H. M. Enzensberger.Susann Ullrich, Arash Aryani, Maria Kraxenberger, Arthur M. Jacobs & Markus Conrad - 2017 - Frontiers in Psychology 7.
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  • Aesthetic perception and its minimal content: a naturalistic perspective.Ioannis Xenakis & Argyris Arnellos - 2014 - Frontiers in Psychology 5.
    Aesthetic perception is one of the most interesting topics for philosophers and scientists who investigate how it influences our interactions with objects and states of affairs. Over the last few years, several studies have attempted to determine “how aesthetics is represented in an object,” and how a specific feature of an object could evoke the respective feelings during perception. Despite the vast number of approaches and models, we believe that these explanations do not resolve the problem concerning the conditions under (...)
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  • Information and belief.Barry Loewer - 1983 - Behavioral and Brain Sciences 6 (1):75-76.
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  • What Is Art Good For? The Socio-Epistemic Value of Art.Aleksandra Sherman & Clair Morrissey - 2017 - Frontiers in Human Neuroscience 11.
    Scientists, humanists, and art lovers alike value art not just for its beauty, but also for its social and epistemic importance; that is, for its communicative nature, its capacity to increase one's self-knowledge and encourage personal growth, and its ability to challenge our schemas and preconceptions. However, empirical research tends to discount the importance of such social and epistemic outcomes of art engagement, instead focusing on individuals' preferences, judgments of beauty, pleasure, or other emotional appraisals as the primary outcomes of (...)
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  • Crossing boundaries: toward a general model of neuroaesthetics.Manuela Maria Marin - 2015 - Frontiers in Human Neuroscience 9:156097.
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  • The stream of experience when watching artistic movies. Dynamic aesthetic effects revealed by the Continuous Evaluation Procedure.Claudia Muth, Marius H. Raab & Claus-Christian Carbon - 2015 - Frontiers in Psychology 6.
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  • Global Image Properties Predict Ratings of Affective Pictures.Christoph Redies, Maria Grebenkina, Mahdi Mohseni, Ali Kaduhm & Christian Dobel - 2020 - Frontiers in Psychology 11.
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  • A Theoretical Framework for How We Learn Aesthetic Values.Hassan Aleem, Ivan Correa-Herran & Norberto M. Grzywacz - 2020 - Frontiers in Human Neuroscience 14:565629.
    How do we come to like the things that we do? Each one of us starts from a relatively similar state at birth, yet we end up with vastly different sets of aesthetic preferences. These preferences go on to define us both as individuals and as members of our cultures. Therefore, it is important to understand how aesthetic preferences form over our lifetimes. This poses a challenging problem: to understand this process, one must account for the many factors at play (...)
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  • Human, Nature, Dynamism: The Effects of Content and Movement Perception on Brain Activations during the Aesthetic Judgment of Representational Paintings.Cinzia Di Dio, Martina Ardizzi, Davide Massaro, Giuseppe Di Cesare, Gabriella Gilli, Antonella Marchetti & Vittorio Gallese - 2015 - Frontiers in Human Neuroscience 9:154298.
    Movement perception and its role in aesthetic experience have been often studied, within empirical aesthetics, in relation to the human body. No such specificity has been defined in neuroimaging studies with respect to contents lacking a human form. The aim of this work was to explore, through functional magnetic imaging (fMRI), how perceived movement is processed during the aesthetic judgment of paintings using two types of content: human subjects and scenes of nature. Participants, untutored in the arts, were shown the (...)
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  • Appraisal components and emotion traits: Examining the appraisal basis of trait curiosity.Paul J. Silvia - 2008 - Cognition and Emotion 22 (1):94-113.
    Individual differences related to emotions are typically represented as emotion traits. Although important, these descriptive models often do not address the psychological dynamics that underlie the trait. Appraisal theories of emotion assume that individual differences in emotions can be traced to differences in patterns of appraisal, but this hypothesis has largely gone untested. The present research explored whether individual differences in the emotion of interest, known as trait curiosity, consist of patterns of appraisal. After completing several measures of trait curiosity, (...)
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  • Futurist Art: Motion and Aesthetics As a Function of Title.Stefano Mastandrea & Maria A. Umiltà - 2016 - Frontiers in Human Neuroscience 10.
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  • Outline of a Theory of Scientific Aesthetics.Gustavo E. Romero - 2018 - Foundations of Science 23 (4):795-807.
    I offer a theory of art that is based on science. I maintain that, as any other human activity, art can be studied with the tools of science. This does not mean that art is scientific, but aesthetics, the theory of art, can be formulated in accord with our scientific knowledge. I present elucidations of the concepts of aesthetic experience, art, work of art, artistic movement, and I discuss the ontological status of artworks from the point of view of scientific (...)
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  • Inferring Master Painters' Esthetic Biases from the Statistics of Portraits.Hassan Aleem, Ivan Correa-Herran & Norberto M. Grzywacz - 2017 - Frontiers in Human Neuroscience 11.
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  • Intense Beauty Requires Intense Pleasure.Aenne A. Brielmann & Denis G. Pelli - 2019 - Frontiers in Psychology 10.
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  • Aesthetic Emotions and Aesthetic People: Openness Predicts Sensitivity to Novelty in the Experiences of Interest and Pleasure.Kirill Fayn, Carolyn MacCann, Niko Tiliopoulos & Paul J. Silvia - 2015 - Frontiers in Psychology 6.
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  • The Shivers of Knowledge.Félix Schoeller - 2015 - Human and Social Studies 4 (3):26-41.
    Aesthetic chills occur in artistic, scientific and religious context. We introduce a theoretical framework relating them to humans’ vital need for cognition. We discuss the implications of such a framework and the plausibility of our hypothesis. Numerous references to chills are introduced.
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  • A psycho-historical research program for the integrative science of art.Nicolas J. Bullot & Rolf Reber - 2013 - Behavioral and Brain Sciences 36 (2):163-180.
    Critics of the target article objected to our account of art appreciators' sensitivity to art-historical contexts and functions, the relations among the modes of artistic appreciation, and the weaknesses of aesthetic science. To rebut these objections and justify our program, we argue that the current neglect of sensitivity to art-historical contexts persists as a result of a pervasive aesthetic–artistic confound; we further specify our claim that basic exposure and the design stance are necessary conditions of artistic understanding; and we explain (...)
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  • Changing the Tune: Listeners Like Music that Expresses a Contrasting Emotion.E. Glenn Schellenberg, Kathleen A. Corrigall, Olivia Ladinig & David Huron - 2012 - Frontiers in Psychology 3.
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  • Aesthetic Responses to Exact Fractals Driven by Physical Complexity.Alexander J. Bies, Daryn R. Blanc-Goldhammer, Cooper R. Boydston, Richard P. Taylor & Margaret E. Sereno - 2016 - Frontiers in Human Neuroscience 10.
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  • Art and Science: A Philosophical Sketch of Their Historical Complexity and Codependence.Nicolas J. Bullot, William P. Seeley & Stephen Davies - 2017 - Journal of Aesthetics and Art Criticism 75 (4):453-463.
    To analyze the relations between art and science, philosophers and historians have developed different lines of inquiry. A first type of inquiry considers how artistic and scientific practices have interacted over human history. Another project aims to determine the contributions that scientific research can make to our understanding of art, including the contributions that cognitive science can make to philosophical questions about the nature of art. We rely on contributions made to these projects in order to demonstrate that art and (...)
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  • The Eye is Listening: Music-Induced Arousal and Individual Differences Predict Pupillary Responses.Bruno Gingras, Manuela M. Marin, Estela Puig-Waldmüller & W. T. Fitch - 2015 - Frontiers in Human Neuroscience 9.
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  • The neuroaesthetics of prose fiction: pitfalls, parameters and prospects.Michael Burke - 2015 - Frontiers in Human Neuroscience 9:155173.
    There is a paucity of neuroaesthetic studies on prose fiction. This is in contrast to the very many impressive studies that have been conducted in recent times on the neuroaesthetics of sister arts such as painting, music and dance. Why might this be the case, what are its causes and, of greatest importance, how can it best be resolved? In this article, the pitfalls, parameters and prospects of a neuroaesthetics of prose fiction will be explored. The article itself is part (...)
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