Advocates of ordinary aesthetics argue that aesthetic experiences found in everyday life can have an impact on our ethical being. This raises the question of how, specifically, action arises from aesthetic experience. Although this matter affects both Aesthetics and Ethics, the current literature provides few details on potential mechanisms. Using neurophysiological evidence, this article proposes specific action profiles and associated mechanisms for aesthetic experiences. To achieve this, it is argued that aesthetic experience originates within the mind and that ordinary aesthetic (...) experiences are logically permissible. Subsequently, a proposed landscape of aesthetic experience is derived. Mechanisms for pathways from experience to action are provided for each category of aesthetic experience. In sum, this provides a tangible bridge between Aesthetics and Ethics, enabling a better understanding of how one’s ethical being is influenced by certain experiences. (shrink)

Some have suggested that images can be arguments. Images can certainly bolster the acceptability of individual premises. We worry, though, that the static nature of images prevents them from ever playing a genuinely argumentative role. To show this, we call attention to a dilemma. The conclusion of a visual argument will either be explicit or implicit. If a visual argument includes its conclusion, then that conclusion must be demarcated from the premise or otherwise the argument will beg the question. If (...) a visual argument does not include its conclusion, then the premises on display must license that specific conclusion and not its opposite, in accordance with some demonstrable rationale. We show how major examples from the literature fail to escape this dilemma. Drawing inspiration from the graphical logic of C. S. Peirce, we suggest instead that images can be manipulated in a way that overcomes the dilemma. Diagrammatic reasoning can take one stepwise from an initial visual layout to a conclusion—thereby providing a principled rationale that bars opposite conclusions—and the visual inscription of this correct conclusion can come afterward in time—thereby distinguishing the conclusion from the premises. Even though this practical application of Peirce’s logical ideas to informal contexts requires that one make adjustments, we believe it points to a dynamic conception of visual argumentation that will prove more fertile in the long run. (shrink)

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 (...) art appreciation. Here, we argue that a systematic neuroscientific study of art appreciation must move beyond understanding aesthetics alone, and toward investigating the social importance of art appreciation. We make our argument for such a shift in focus first, by situating art appreciation as an active social practice. We follow by reviewing the available psychological and cognitive neuroscientific evidence that art appreciation cultivates socio-epistemic skills such as self- and other-understanding, and discuss philosophical frameworks which suggest a more comprehensive empirical investigation. Finally, we argue that focusing on the socio-epistemic values of art engagement highlights the important role art plays in our lives. Empirical research on art appreciation can thus be used to show that engagement with art has specific social and personal value, the cultivation of which is important to us as individuals, and as communities. (shrink)

This paper explores the role of aesthetic judgements in mathematics by focussing on the relationship between the epistemic and aesthetic criteria employed in such judgements, and on the nature of the psychological experiences underpinning them. I claim that aesthetic judgements in mathematics are plausibly understood as expressions of what I will call ‘aesthetic-epistemic feelings’ that serve a genuine cognitive and epistemic function. I will then propose a naturalistic account of these feelings in terms of sub-personal processes of representing and assessing (...) the relation between cognitive processes and certain properties of the stimuli at which they are directed. (shrink)

This article develops some of the many ways in which Leonardo and Descartes, throughout the prolific period of human valuation from the fifteenth to the seventeenth centuries, seem to have approached and anchored their seminal contributions on the Cartesian body and metaphysical mind. While Leonardo masterfully developed an iterative thinking system of visual design applied to nature and artifacts, Descartes laid the groundwork for methodical critical thinking in dimensions that ironically ranged from dreams to the controlled narrative, from a deceptive (...) body to a rational man. In an interdisciplinary articulation of historical and neurobiological leanings, contemporary concepts of the cognitive emotional brain, led by Damasio as the basis for his conclusions about the "Descartes Error", as well as a torrent of growing evidence that supports high cognitive abilities in associative processes mediated by action/body lead us to a re-evaluation today of the legacies of Leonardo and Descartes, rescuing a scientific mind/brain/body process that underlies the human mastering of a universal technology of discourse that would revolutionize science. (shrink)

A worldwidemental health crisis is expected, as millions worldwide fear death and disease while being forced into repeated isolation. Thus, there is a need for new proactive approaches to improve mental resilience and prevent mental health conditions. Since the 1990s, art has emerged as an alternative mental health therapy in the United States and Europe, becoming part of the social care agenda. This article focuses on how visual esthetic experiences can create similar patterns of neuronal activity as those observed when (...) the reward system is activated. The activation of the reward structures could have a stress buffering effect, given the interdependence observed between the reward and stress systems. Therefore, could visual esthetic experiences stimulate mental resilience? And if this were the case, could art-based interventions be offered for mental health in the context of COVID-19 and beyond? (shrink)

Summary Humans know when they themselves experience beauty, even though the term itself has been difficult to define adequately for a variety of reasons. Given this centuries’ old failure to give an adequate definition of beauty, perhaps the time has come to enquire whether the experience of beauty, regardless of its source, can be defined in neural terms.

The research programs of empirical aesthetics and neuroaesthetics have reflected deep concerns about viewers' sensitivities to artworks' historical contexts by investigating the impact of two factors on art perception: viewers' developmental (and educational) histories and the contextual histories of artworks. These considerations are consistent with data demonstrating that art perception is underwritten by dynamically reconfigured and evolutionarily adapted neural and psychological mechanisms.

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

Own-age bias is a well-known bias reflecting the effects of age, and its role has been demonstrated, particularly, in face recognition. However, it remains unclear whether an own-age bias exists in facial impression formation. In the present study, we used three datasets from two published and one unpublished functional magnetic resonance imaging study that employed the same pleasantness rating task with fMRI scanning and preferential choice task after the fMRI to investigate whether healthy young and older participants showed own-age effects (...) in face preference. Specifically, we employed a drift-diffusion model to elaborate the existence of own-age bias in the processes of preferential choice. The behavioral results showed higher rating scores and higher drift rate for young faces than for older faces, regardless of the ages of participants. We identified a young-age effect, but not an own-age effect. Neuroimaging results from aggregation analysis of the three datasets suggest a possibility that the ventromedial prefrontal cortex was associated with evidence accumulation of own-age faces; however, no clear evidence was provided. Importantly, we found no age-related decline in the responsiveness of the vmPFC to subjective pleasantness of faces, and both young and older participants showed a contribution of the vmPFC to the parametric representation of the subjective value of face and functional coupling between the vmPFC and ventral visual area, which reflects face preference. These results suggest that the preferential choice of face is less susceptible to the own-age bias across the lifespan of individuals. (shrink)

This article addresses the phenomenology of aesthetic experience. It first, critically, considers one of the most influential approaches to the psychophysics of aesthetic perception, viz. neuroaesthetics. Hereafter, it outlines constitutive tenets of aesthetic perception in terms of a particular intentional relation to the object. The argument comes in three steps. First, I show the inadequacies of the neuroaesthetics of beauty in general and Semir Zeki’s and V.J. Ramachandran’s versions of it in particular. The neuroaesthetics of beauty falls short, because it (...) develops hypotheses of aesthetic experience which have no consequences for the understanding of what art is, that is, how artists produce visual meaning effects in their works. This is so because they make the rewarding feeling of beauty the cornerstone of aesthetic experience. Next, I show why and how aesthetic experience should be defined relative to its object and the tools for meaning-making specific to that object, and not relative to the feeling (of beauty) it may elicit. Finally, I sketch the import this fact may have on a research program in empirical aesthetics. (shrink)