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  1. 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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  • 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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  • Comparison of Objective Measures for Predicting Perceptual Balance and Visual Aesthetic Preference.Ronald Hübner & Martin G. Fillinger - 2016 - Frontiers in Psychology 7.
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  • Looking backward: Progress in outer psychophysics.David J. Weiss - 1993 - Behavioral and Brain Sciences 16 (1):165-165.
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  • A parallel view of the history of psychophysics.Gregory R. Lockhead - 1993 - Behavioral and Brain Sciences 16 (1):154-155.
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  • History of psychophysics: Some unanswered questions.Lester E. Krueger - 1993 - Behavioral and Brain Sciences 16 (1):149-150.
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  • Fechner's impact for measurement theory.Michael Heidelberger - 1993 - Behavioral and Brain Sciences 16 (1):146-148.
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  • Psychophysics, its history and ontology.Horst Gundlach - 1993 - Behavioral and Brain Sciences 16 (1):144-145.
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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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  • Fractality and Variability in Canonical and Non-Canonical English Fiction and in Non-Fictional Texts.Mahdi Mohseni, Volker Gast & Christoph Redies - 2021 - Frontiers in Psychology 12.
    This study investigates global properties of three categories of English text: canonical fiction, non-canonical fiction, and non-fictional texts. The central hypothesis of the study is that there are systematic differences with respect to structural design features between canonical and non-canonical fiction, and between fictional and non-fictional texts. To investigate these differences, we compiled a corpus containing texts of the three categories of interest, the Jena Corpus of Expository and Fictional Prose. Two aspects of global structure are investigated, variability and self-similar (...)
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  • Orange is the new aesthetic.Anjan Chatterjee - 2017 - Behavioral and Brain Sciences 40.
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  • Engineered Niches and Naturalized Aesthetics.Richard A. Richards - 2017 - Journal of Aesthetics and Art Criticism 75 (4):465-477.
    Recent scientific approaches to aesthetics include evolutionary theories about the origin of art behavior, psychological investigations into human aesthetic experience and preferences, and neurophysiological explorations of the mechanisms underlying art experience. Critics of these approaches argue that they are ultimately irrelevant to a philosophical aesthetics because they cannot help us understand the distinctive conceptual basis and normativity of our art experience. This criticism may seem plausible given the piecemeal nature of these scientific approaches, but a more comprehensive naturalistic framework can (...)
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  • The analysis of sensations as the foundation of all sciences.J. van Brakel - 1993 - Behavioral and Brain Sciences 16 (1):163-164.
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  • Derivation of Stevens's exponent from neurophysiological data.Artour N. Lebedev - 1993 - Behavioral and Brain Sciences 16 (1):152-153.
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  • Neuroaesthetics: Range and restrictions.Anjan Chatterjee - 2013 - Behavioral and Brain Sciences 36 (2):137-138.
    Bullot & Reber (B&R) should be commended for highlighting tensions between scientific aesthetics and art history. The question of how each tradition can learn from the other is timely. While I am sympathetic to their views, their diagnosis of the problem appears exaggerated and their solution partial. They underestimate the reach of scientific aesthetics while failing to identify its inherent restrictions.
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  • A reappraisal of the uncanny valley: categorical perception or frequency-based sensitization?Tyler J. Burleigh & Jordan R. Schoenherr - 2014 - Frontiers in Psychology 5.
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  • The place of psychophysics in the history of sensory science.David J. Murray - 1993 - Behavioral and Brain Sciences 16 (1):166-186.
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  • A perspective for viewing the present of psychophysics.Paul Whittle - 1993 - Behavioral and Brain Sciences 16 (1):165-166.
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  • Sensation strength: Another point of view.Robert Teghtsoonian - 1993 - Behavioral and Brain Sciences 16 (1):161-162.
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  • Quantifying, valuing, choosing.Lawrence E. Marks - 1993 - Behavioral and Brain Sciences 16 (1):156-157.
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  • Mimological Reveries? Disconfirming the Hypothesis of Phono-Emotional Iconicity in Poetry.Maria Kraxenberger & Winfried Menninghaus - 2016 - Frontiers in Psychology 7.
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  • Perception in Practice.Dominic McIver Lopes & Madeleine Ransom - 2022 - Review of Philosophy and Psychology 14 (2):387-400.
    A study of culturally-embedded perceptual responses to aesthetic value indicates that learned perceptual capacities can secure compliance with social norms. We should therefore resist the temptation to draw a line between cognitive processes, such as perception, that can adapt to differences in physical environments, and cognitive processes, such as economic decision-making, that are shaped by social norms. Compliance with social norms is a result of perceptual learning when that same compliance modifies perceptible features of the physical environment.
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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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  • A Complex Story: Universal Preference vs. Individual Differences Shaping Aesthetic Response to Fractals Patterns.Nichola Street, Alexandra M. Forsythe, Ronan Reilly, Richard Taylor & Mai S. Helmy - 2016 - Frontiers in Human Neuroscience 10:195648.
    Fractal patterns offer one way to represent the rough complexity of the natural world. Whilst they dominate many of our visual experiences in nature, little large-scale perceptual research has been done to explore how we respond aesthetically to these patterns. Previous research (Taylor et al., 2011) suggests that the fractal patterns with mid-range fractal dimensions have universal aesthetic appeal. Perceptual and aesthetic responses to visual complexity have been more varied with findings suggesting both linear (Forsythe et al., 2011) and curvilinear (...)
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  • On the construction of psychophysical reality.Mark Wagner - 1993 - Behavioral and Brain Sciences 16 (1):164-165.
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  • What Ekman really said.Mats Olsson, Kathleen Harder & John C. Baird - 1993 - Behavioral and Brain Sciences 16 (1):157-158.
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  • The chimera of psychological measurement.Gail A. Hornstein - 1993 - Behavioral and Brain Sciences 16 (1):148-149.
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  • Aesthetic meanings and aesthetic emotions: How historical and intentional knowledge expand aesthetic experience.Paul J. Silvia - 2013 - Behavioral and Brain Sciences 36 (2):157-158.
    This comment proposes that Bullot & Reber's (B&R's) emphasis on historical and intentional knowledge expands the range of emotions that can be properly viewed as aesthetic states. Many feelings, such as anger, contempt, shame, confusion, and pride, come about through complex aesthetic meanings, which integrate conceptual knowledge, beliefs about the work and the artist's intentions, and the perceiver's goals and values.
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  • Commentary: But Is It really Art? The Classification of Images as “Art”/“Not Art” and Correlation with Appraisal and Viewer Interpersonal Differences.Marcos Nadal, Víctor Gallardo & Gisèle Marty - 2018 - Frontiers in Psychology 8.
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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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  • Preference for Curvature: A Historical and Conceptual Framework.Gerardo Gómez-Puerto, Enric Munar & Marcos Nadal - 2015 - Frontiers in Human Neuroscience 9.
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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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  • Toward a general psychological model of tension and suspense.Moritz Lehne & Stefan Koelsch - 2015 - Frontiers in Psychology 6:118396.
    Tension and suspense are powerful emotional experiences that occur in a wide variety of contexts (e.g., in music, film, literature, and everyday life). The omnipresence of tension experiences suggests that they build on very basic cognitive and affective mechanisms. However, the psychological underpinnings of tension experiences remain largely unexplained, and tension and suspense are rarely discussed from a general, domain-independent perspective. In this paper, we argue that tension experiences in different contexts (e.g., musical tension or suspense in a movie) build (...)
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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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  • 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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  • A perspective for viewing the history of psychophysics.David J. Murray - 1993 - Behavioral and Brain Sciences 16 (1):115-137.
    Fechner's conception of psychophysics included both “outer psychophysics” the relation between stimulus intensity and the response reflecting sensation strength, and “inner psychophysics” the relation between neurelectric responses and sensation strength. In his own time outer psychophysics focussed on the form of the psychophysical law, with Fechner espousing a logarithmic law, Delboeuf a variant of the logarithmic law incorporating a resting level of neural activity, and Plateau a power law. One of the issues on which the dispute was focussed concerned the (...)
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  • Inner psychophysics, neurelectric function and perceptual theories.Stephen Handel - 1993 - Behavioral and Brain Sciences 16 (1):145-146.
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  • Unwarranted popularity of a power function for heaviness estimates.Helen E. Ross - 1993 - Behavioral and Brain Sciences 16 (1):159-160.
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  • Response time based psychophysics: An added perspective.William M. Petrusic - 1993 - Behavioral and Brain Sciences 16 (1):158-159.
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  • Nonconscious sensation and inner psychophysics.Norman H. Anderson - 1993 - Behavioral and Brain Sciences 16 (1):137-138.
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  • Reconsidering Morphology Through an Experimental Case Study.Liliana Albertazzi, Luisa Canal, Paolo Chistè, Mara De Rosa, Rocco Micciolo & Alessandro Minelli - 2017 - Biological Theory 12 (3):131-141.
    This study analyzes shells of marine gastropods of a zoological museum and the Latin epithets expressing perceptual and connotative attributes that they have received in the standard, Linnaean nomenclature. Making use of the Osgood semantic differential, we presented the subjects with digital 3-D reproductions of the shell specimens to be subjectively evaluated according to 17 pairs of attributes. The results show that, overall, the subjective evaluations given by the subjects are consistent, which suggests that an intersubjective characterization of the shells (...)
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  • Let's not promulgate either Fechner's erroneous algorithm or his unidimensional approach.R. Duncan Luce - 1993 - Behavioral and Brain Sciences 16 (1):155-156.
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  • Reconsidering Morphology Through an Experimental Case Study.Alessandro Minelli, Rocco Micciolo, Mara Rosa, Paolo Chistè, Luisa Canal & Liliana Albertazzi - 2017 - Biological Theory 12 (3):131-141.
    This study analyzes shells of marine gastropods of a zoological museum and the Latin epithets expressing perceptual and connotative attributes that they have received in the standard, Linnaean nomenclature. Making use of the Osgood semantic differential, we presented the subjects with digital 3-D reproductions of the shell specimens to be subjectively evaluated according to 17 pairs of attributes. The results show that, overall, the subjective evaluations given by the subjects are consistent, which suggests that an intersubjective characterization of the shells (...)
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  • From metaphysics to psychophysics and statistics.Gerd Gigerenzer - 1993 - Behavioral and Brain Sciences 16 (1):139-140.
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  • Fechner revisited: Towards an inclusive approach to aesthetics.W. Tecumseh Fitch & Gesche Westphal-Fitch - 2013 - Behavioral and Brain Sciences 36 (2):140-141.
    Accepting Bullot & Reber's (B&R's) criteria for art appreciation would confine the study of aesthetics to those works for which historical information is available, mainly posthigh art.correct” artistic understanding is limited to experts with detailed knowledge or education in art, which implies a narrowly elitist conception of aesthetics. Scientific aesthetics must be broadly inclusive.
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  • Psychophysics and the mind-brain problem.Michel Treisman - 1993 - Behavioral and Brain Sciences 16 (1):162-163.
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  • Bedrock metaphysics, fossil fuel psychophysics.Dale A. Stout - 1993 - Behavioral and Brain Sciences 16 (1):160-161.
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  • Fechner's theory of mental measurement.Stephen Link - 1993 - Behavioral and Brain Sciences 16 (1):153-154.
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  • The antecedents of signal detection theory.Donald Laming - 1993 - Behavioral and Brain Sciences 16 (1):151-152.
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  • Approaching Aisthetics Or: Installation Art and Environmental Aesthetics as Investigative Activity.Benno Hinkes - 2017 - Espes 6 (2):62-71.
    The article discusses installation art and its potential contribution to a transdisciplinary research practice, in which not only artistic, but also aesthetic theoretical approaches could play a central role. However, as the article shows, this firstly requires a change in perspective concerning the way we approach art. Secondly, it entails changes to a common understanding of aesthetic theory and, thereby, philosophy. A term of central significance in this context is the notion of aisthesis. The article will illustrate these thoughts through (...)
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