Estética y neurociencia: estableciendo puentes
DOI:
https://doi.org/10.22529/p.2019.5.12Palabras clave:
Estética, neurociencia, neuroestética, neurocognitivo.Resumen
Aesthetics and Neuroscience: Establishing BridgesResumenEl estudio de las bases neuronales de la apreciación artística es un campo disciplinario en rápido crecimiento dentro de las llamadas neurociencias cognitivas. Este nuevo campo epistemológico se conoce popularmente como neuroestética. En este artículo vamos a mostrar que a) los presupuestos filosóficos de las neuroestéticas son contraproducentes para el estudio neurocognitivo del arte y, b) la evidencia empírica refuta algunos de los postulados centrales de la neuroestética. Asimismo, vamos a introducir algunos fundamentos teóricos y experimentales que muestran que el estudio neurocognitivo de la apreciación artística es no sólo posible, sino que el mismo es una pieza fundamental dentro del campo considerado como una ciencia del arte cuyo carácter es interdisciplinario.AbstractThe study of the neural bases of artistic appreciation is a rapidly growing disciplinary field within the so-called cognitive neurosciences. This new epistemological field is popularly known as neuroaesthetics. In this article we will show that a) the philosophical foundations of neuroesthetics are counterproductive for the neurocognitive study of art and b) the empirical evidence refutes some of the central postulates of neuroaesthetics. Likewise, we are going to introduce some theoretical and experimental foundations that show that the neurocognitive study of artistic appreciation is not only possible but it is a fundamental piece within an art science of an interdisciplinary nature.Key words: Aesthetics, Neuroscience, Neuroesthetics, Neurocognitive.Descargas
Los datos de descarga aún no están disponibles.
Referencias
AMIN, Z., CANLI, T. y EPPERSON, C.N. (2005). Effect of Estrogen-Serotonin Interactions on Mood and Cognition. Behav. Cogn.Neurosci. Rev., 4, 43-58.
AUGUSTIN, D., y LEDER, H. (2006). Art Expertise: A Study of Concepts and Conceptual Spaces. Psychology Science, 48(2), 135.
AUGUSTINE, M.D., DEFRANCESCHI, B., FUCHS, H.K., CARBON, C-C.y HUTZLER, F. (2011). The Neural Time Course of Art Perception: An Erp Study on the Processing of Style Versus Content in Art. Neuropsycho., 49, 2071-2081.
BELKE, B., LEDER, H. y AUGUSTIN, D. (2006). Mastering Style. Effects of Explicit Style-related Information, Art Knowledge and Affective State on Appreciation of Abstract Paintings. Psycho. Sci., 48(2), 115-134.
BHATTACHARYA, J. (2009): Increase of Universality in Human Brain During Mental Imagery from Visual Perception. PLoS ONE, 4(1), e4121. doi: 10.1371/journal.pone.0004121.
BULLOT, N.J. y REBER, R. (2013). The Artful Mind Meets Art History: Toward a Psycho-historical Framework for the Science of Art Appreciation. Behav. Brain Sci., 36(02), 123-137.
BURMAN, J. T. (2012). History from Within? Contextualizing the New Neurohistory and Seeking its Methods. History of psychology, 15(1), 84.
CARROLL, J. (2004): Literary Darwinism. Evolution, Human Nature, And Literature. New York: Routledge.
CARROLL, J. (2005). Literature and Evolutionary Psychology. En Tooby, J. y Cosmides, L., Conceptual foundations of evolutionary psychology. En Buss, David M. (ed.), The handbook of evolutionary psychology (pp.931-952). New Jersey: John Wiley y Sons.
CARROLL, N. (1999). Philosophy of art. A contemporary introduction. London: Routledge.
CARROLL, N. (ed.) (2000). Theories of art today. The University of Wisconsin Press.
CARROLL, N. (2010). Art in three dimensions. Oxford: Oxford University Press.
CARROLL, N., MOORE, M. y SEELEY, P. (2011). The philosophy of art and aesthetics, psychology, and neuroscience. Studies in literature, music, and visual arts. En Shimamura, A.P. y Palmer S.E. (eds), Aesthetic science. Connecting minds, brains, and experience (pp.31-62).
CELA-CONDE, C.J., AGNATI, L., HUSTON, J.P., MORA, F. y NADAL, M. (2011): The neural foundations of aesthetic appreciation. Prog. Neurobiol., 94, 39-48.
CELA-CONDE, C.J., AYALA, F.J., MUNAR, E., MAESTÚ, F., NADAL, M., CAPÓ, M.A., DEL RÍO, D., LÓPEZ-IBOR, J.J., ORTIZ, T., MIRASSO, C., y MARTY, G. (2009). Sex-Related Similarities and Differences in the Neural Correlates of Beauty. PNAS, 106, 3847-3852.
CELA-CONDE, C.J., MARTY, G., MAESTÚ, F., ORTIZ, T., MUNAR, E., FERNÁNDEZ, A., ROCA, M., ROSSELLÓ, J. y QUESNEY, F. (2004). Activation of the Prefrontal Cortex in the Human Visual Aesthetic Perception. PNAS, 101, 6321-6325.
CHATTERJEE, A. (2012). Neuroaesthetics: Growing Pains of a New Discipline. En Shimamura, A.P. y Palmer S.E. (eds), Aesthetic Science. Connecting Minds, Brains, and Experience (pp.299-317). Oxford University Press.
CHATTERJEE, A., y FARAH, M. J. (Eds.). (2013). Neuroethics in practice. OxfordUniversity Press.
COOLS, R. (2008a). Role of Dopamine in the Motivational and Cognitive Control of Behavior. Neuroscientist, 14(4), 381-395.
COOLS, R. (2008b). Dopaminergic modulation of flexible cognitive control: the role of the striatum. En Bunge, S.A.y Wallis J.D. (eds), Neuroscience of rule-guided behavior (pp.313-334).
COOLS, R., ROBERTS, A.C., y ROBBINS, T.W. (2007). Serotoninergic
Regulation of Emotional and Behavioral Control Processes. Trends Cog. Sci., 12, 31-40.
CUPCHIK, G.C., VARTANIAN, O., CRAWLEY, A. y MIKULIS, D.J. (2009). Viewing artworks: contributions of cognitive control and perceptual facilitation to aesthetic experience. Brain Cogn., 70, 84-91.
DAVIES, S. (2006). The philosophy of art. Blackwell.
DAVIES, S. y STECKER, R. (2009). Twentieth-century Anglo-American aesthetics. En Davies, S., Higgins, K.M., Hopkins, R., Stecker, R. y Cooper, D.E: (eds.), A Companion to Aesthetics. Second edition (pp.61-73). Blackwell publishing ldt.
DAYAN, P. y HUYS, Q.J.M. (2009). Serotonin in Affective Control. Annu. Rev. Neurosci., 32, 95-126.
FRIXIONE, M. (2011). Art, the Brain, and Family Resemblances: Some Considerations on Neuroaesthetics. Phil. Psy., 24(5), 699-715.
GOODENOUGH, O. R., y TUCKER, M. (2010). Law and cognitive neuroscience. Annu. Rev.Law Soc. Sci., 6, 61-92.
HAANSTRA, F., DAMEN, M.L., y VAN HOORN, M. (2013). Interestingness and Pleasingness of Drawings from Different Age and Expertise Groups. Empirical Studies of the Arts, 31(2), 173-194.
HEKKERT, P. y VAN WIERINGEN, P.C. (1996). Beauty in the Eye of Expert and Nonexpert Beholders: A Study in the Appraisal of Art. Ame. J. Psycho., 109(3), 389-407.
HUANG, M., BRIDGE, H., KEMP, M.J. y PARKER, A.J. (2011). Human Cortical Activity Evoked by the Assignment of Authenticity When Viewing Works of Art. Front. Hum. Neurosci., 5:134 doi: 10.3389/fnhum.2011.00134.
JACOBS, R.H.A.H., RENKEN, R. y CORNELISSEN, F.W. (2012). Neural Correlates of Visual Aesthetics- Beauty as the Coalescence of Stimulus and Internal State. PLoS ONE, 7(2): e31248. doi:10.1371/journal.pone.0031248.
JACOBSEN, T. (2006). Bridging the Arts and Sciences: A Framework for the Psychology of Aesthetics. Leonardo, 39(2), 155-162.
JUCKER, J.L., y BARRETT, J.L. (2011). Cognitive Constraints on the Visual Arts: an Empirical Study of the Role of Perceived Intentions in Appreciation Judgements. Journal of Cognition and Culture, 11(1-2).
KAPOULA, Z., DAUNYS, G., HERBEZ, O., y YANG, Q. (2009). Effect of Title on Eye-movement Exploration of Cubist Paintings by Fernand Léger. Perception, 38(4), 479-491.
KIRK, U., SKOV, M., CHRISTENSEN, M.S. y NYGAARD, N. (2009a). Brain Correlates of Aesthetic Expertise: a Parametric fMRI Study. Brain Cogn., 69, 306-315
KIRK, U., SKOV, M., HULME, O., CHRISTENSEN, M.S. y ZEKI, S. (2009b). Modulation of Aesthetic Value by Semantic Context: An fMRI study. Neuroimagen, 44, 1125-1132.
KOELSCH, S. y SIEBEL, W.A. (2005). Towards a Neural Basis of Music Perception. Trends Cog. Sci., 9:578-584.
KRUGER, J., WIRTZ, D., VAN BOVEN, L., y ALTERMATT, T.W. (2004). The effort heuristic. Journal of Experimental Social Psychology, 40(1), 91-98.
LANGER, F. (2012). Mental Imagery, Emotion, and Literary Task-sets Clues Towards a Literary Neuroart. J. Consci. Stu., 19(7-8), 168-215.
LANGER, F. (2016). Art Theory for (Neuro) Scientists: Bridging the Gap. Poetics Today, 37(4), 497-516.
LEDER, H., BELKE, B., OEBERST, A., y AUGUSTIN, D. (2004). A model of aesthetic appreciation and aesthetic judgments. British Journal of Psychology, 95(4), 489-508.
LEDER, H., CARBON, C. C., y RIPSAS, A. L. (2006). Entitling Art: Influence of Title Information on Understanding and Appreciation of Paintings. Acta psychologica, 121(2), 176-198.
LEDER, H., GERGER, G., DRESSLER, S.G. y SCHABMANN, A. (2012). How art is appreciated. Psycho. Aesth.Creat. Arts, 6(1), 1-9.
LENGGER, P.G., FISCHMEISTER, F.Ph.S., LEDER, H. y BAUER, H. (2007). Functional Neuroanatomy of the Perception of Modern Art: a DC-EEG Study on the Influence of Stylistic Information on Aesthetic Experience. Brain Res.
LOCHER, P.E., MARTINDALE, C.E. y DORFMAN, L.E. (eds.) (2006). New Directions in Aesthetics, Creativity and the Arts. Baywood Publishing Co.
LOCHER, P. J. (2011). Contemporary Experimental Aesthetics: State of the Art Technology. i-Perception, 2(7), 697707.
LOCHER, P. J. (2014). Contempory Experimental Aesthetics: Procedures and Findings. En Ginsburggh V. y Throsby D. (eds), Handbook of the Economics of Art And Culture (pp.49-80). Amsterdam: Elsevier.
LOCHER, P.J., SMITH, J.K., y SMITH, L.F. (2001). The Influence of Presentation Format and Viewer Training in the Visual Arts on the Perception of Pictorial and Aesthetic Qualities of Paintings. Perception, 30(4), 449-466.
LÓPEZ-SINTAS, J., GARCÍA-ÁLVAREZ, E. y PÉREZ-RUBIALES, E. (2012). The unforgettable aesthetic experience: the relationship between the originality of artworks and local culture. Poetics, 40, 337-358.
LOEWENSTEIN, G., RICK, S., y COHEN, J. D. (2008). Neuroeconomics. Annu. Rev. Psychol., 59, 647-672.
MASSEY, I. (2009): The Neural Imagination. Aesthetic and Neuroscientific Approaches to the Arts. Austin: University of Texas press.
MIALL, D. S. (2001). An Evolutionary Framework for Literary Reading. En Schram D. y Steen G. (eds) The Psychology and Sociology of Literature. In Honor of Elrud Ibsch (pp.407-420). John Benjamins Publishing Company.
MIALL, D. S. (2008). Foregrounding and Feeling in Response to Narrative. Directions in Empirical Literary Studies: In honor of Willie van Peer, 5, 89-102.
MIALL, D. S. (2009): Neuroaesthetics of Literary Reading. En Skov, M. y Vartanian, O (eds.), Neuroaesthetics (pp.233-247). Amityville, N.Y.: Baywood Publishing.
MIALL, D. S. (2011). Emotions and the Structuring of Narrative Responses. Poetics Today, 32(2), 323-348.
MILLIS, K. (2001). Making Meaning Brings Pleasure: the Influence of Titles on Aesthetic Experiences. Emotion, 1(3), 320-329.
MUNAR, E., NADAL, M., CASTELLANOS, N.P., FLEXAS, A., MAESTÚ, F.,
MIRASSO, C. y CELA-CONDE, C.J. (2012). Aesthetic Appreciation: Event-related Field and Time-frequency Analyses. Front. Hum. Neurosci., 5, 185, 1-11.
NADAL, M., MUNAR, E., CAPÓ, M.A., ROSSELLÓ, J. y CELA-CONDE, C.J. (2008). Towards a Framework for the Study of the Neural Correlates of Aesthetic Preference. Spatial Vis., 21, 3-5, 379-396.
NADAL, M. y PEARCE, M.T. (2011). The Copenhagen Neuroaesthetics Conference: Prospects and Pitfalls for an Emerging Field. Brain Cogn., 76, 172-183.
NODINE, C.F., LOCHER, P.J., y KRUPINSKI, E.A. (1993). The Role of Formal Art Training on Perception and Aesthetic Judgment of Art Compositions. Leonardo, 26(3), 219-227.
PERETZ, I. y ZATORRE, R.J. (2005). Brain Organization for Music Processing. Annu. Rev. Psychol. 56, 89114
PIHKO, E., VIRTANEN, A., SAARINEN, V-M., PANNASCH, S., HIRVENKARI, L., TOSSAVAINEN, T., HAAPALA, A. y HARI, R. (2011). Experiencing Art: the Influence of Expertise and Painting Abstraction Level. Front. Hum. Neurosci., 5:94, doi: 10.3389/fnhum.2011.00094
QUIROGA, R.Q. y PEDREIRA, C. (2011). How do we see art: an eye-tracker study. Front. Hum. Neurosci., 5, 98. doi: 10.3389/fnhum.2011.00098.
RAMACHANDRAN, V.S. y HIRSTEIN, W. (1999). The Science of Art. A Neurological Theory of Aesthetic Experience. J. Consciousness Studies, 6, (6-7), 15-51.
REDIES, C. (2008). A Universal Model of Esthetic Perception Based on the Sensory Coding of Natural Stimuli. Spatial Vis., 21(1), 97.
ROBERTS, A. C. (2008). Dopaminergic and Serotonergic Modulation of Two Distinct Forms of Flexible Cognitive Control: Attentional Set-shifting and Reversal Learning. En Bunge, S.A.y Wallis J.D. (2008) (eds), Neuroscience of rule-guided behavior (pp.283-312).
ROMERO, G. E. (2018). Outline of a Theory of Scientific Aesthetics. Foundations of Science, 1-13.
RUSSELL, B. (1927). An Outline of Philosophy. London: George Allen y Unwin Ldt.
SIGMAN, M., PEÑA, M., GOLDIN, A.P., y RIBEIRO, S. (2014). Neuroscience and Education: Prime Time to Build the Bridge. Nat. Neurosci., 17(4), 497-502.
SILVA, P. J. (2009). Looking past pleasure: anger, confusion, disgust, pride, surprise, and other unusual aesthetic emotions. Psychology of Aesthetics, Creativity, and the Arts, 3(1), 48-51.
SILVA, P. J. (2012). Human Emotions and Aesthetic Experience: an Overview of Empirical Aesthetics. En Shimamura, A.P. y Palmer S.E. (eds), Aesthetic science. Connecting minds, brains, and experience (pp.250-275).
SKOV, M., y VARTANIAN, O. (2009). Neuroaesthetics, Foundations and Frontiers in Aesthetics. Amityville: Baywood.
SLOTNIK, S. D. (2004). Visual Memory and Visual Perception Recruit Common Neural Substrate. Beh. Cog. Neurosci. Rev., 3 (4), 207-221.
SLOTNIK, S. D. (2008): Imagery: mental pictures disrupt perceptual rivalry in: Curr. Biol., Vol. 18, No. 14, 603-605.
SLOTNICK, S.D., THOMPSON, W.L., KOSSLYN, S.M. (2005).Visual Mental Imagery Induces Retinotopically Organized Activation of Early Visual Areas. Cereb. Cortex, 15, 1570-1583.
SMITH CHURCHLAND, P. (1989). Neurophilosophy. Massachusetts: M.I.T. Press.
SMITH CHURCHLAND, P. (2002). Brain-wise: Studies in neurophilosophy. Massachusetts: M.I.T. Press.
SPECHT, S., M. (2008). The Influence of Artists Statements on Perceptions of Artwork. 20th Biennial Congress of the International Association of Empirical Aesthetics (IAEA), Chicago, IL, USA.
SPRENG, R.N. y GRADY, C.L. (2010). Patterns of Brain Activity Supporting Autobiographical Memory, Prospection, and Theory of Mind, and their Relationship to the Default Mode Network. J. Cog. Neurosci., 22(6), 1112-1123.
TALLIS, R. (2008). The Neuroscience Delusion. Neuroaesthetics is Wrong About our Experience of Literature and is Wrong About Humanity. The Times literary supplement, 04/09/2008.
VARTANIAN, O. y GOEL, V. (2004). Neuroanatomical correlates of aesthetic preference for paintings. Neuroreport, 15, 893-897.
VESSEL, E.A., STARR, G.G. y RUBIN, N. (2012). The Brain on Art: Intense Aesthetic Experience Activates the Default Mode Network. Front. Hum. Neuroscie, 6, 66.
VON HOLSTEIN, M., AARTS, E., VAN DER SCHAAF, M.E., GEURTS, D.E.M.,
VERKES, R.J., FRANKE, B., VAN SCHOUWENBURG, M.R. y COOLS, R. (2011). Human Cognitive Flexibility Depends on Dopamine D2 Receptor Signaling. Psychopharmacology, 218, 567-578.
VON LINDERN, E. (2008). Is the Aesthetic Judgement of Museum Visitors Biased If Rating Well-Known Objects? 20th Biennial Congress of the International Association of Empirical Aesthetics (IAEA), Chicago, IL, USA.
WESTEN, D. (2008). Political Brain: The Role of Emotion in Deciding the Fate of the Nation. PublicAffairs.
WIESMANN, M. y ISHAI, A. (2010). Training Facilitates Object Recognition in Cubist Paintings. Front. Hum. Neurosci., 4:11. doi: 10.3389/neuro.09.011.2010.
WOLZ, S.H., y CARBON, C.C. (2014). Whats wrong with an art fake? Cognitive and emotional variables influenced by authenticity status of artworks (in press - Leonardo).
ZAIDEL, D. W. (2010): Art and brain: insights from neuropsychology, biology and evolution in: J. Anat., 216, 177-183.
ZEKI, S. (1999). Inner Vision: An Exploration of Art and the Brain. New York: Oxford University Press.
ZEKI, S. (2002). Neural Concept Formation y Art: Dante, Michelangelo, Wagner Something, and Indeed the Ultimate Thing, must be Left over for the Mind to do. J. Consci. Stu., 9(3), 53-76.
AUGUSTIN, D., y LEDER, H. (2006). Art Expertise: A Study of Concepts and Conceptual Spaces. Psychology Science, 48(2), 135.
AUGUSTINE, M.D., DEFRANCESCHI, B., FUCHS, H.K., CARBON, C-C.y HUTZLER, F. (2011). The Neural Time Course of Art Perception: An Erp Study on the Processing of Style Versus Content in Art. Neuropsycho., 49, 2071-2081.
BELKE, B., LEDER, H. y AUGUSTIN, D. (2006). Mastering Style. Effects of Explicit Style-related Information, Art Knowledge and Affective State on Appreciation of Abstract Paintings. Psycho. Sci., 48(2), 115-134.
BHATTACHARYA, J. (2009): Increase of Universality in Human Brain During Mental Imagery from Visual Perception. PLoS ONE, 4(1), e4121. doi: 10.1371/journal.pone.0004121.
BULLOT, N.J. y REBER, R. (2013). The Artful Mind Meets Art History: Toward a Psycho-historical Framework for the Science of Art Appreciation. Behav. Brain Sci., 36(02), 123-137.
BURMAN, J. T. (2012). History from Within? Contextualizing the New Neurohistory and Seeking its Methods. History of psychology, 15(1), 84.
CARROLL, J. (2004): Literary Darwinism. Evolution, Human Nature, And Literature. New York: Routledge.
CARROLL, J. (2005). Literature and Evolutionary Psychology. En Tooby, J. y Cosmides, L., Conceptual foundations of evolutionary psychology. En Buss, David M. (ed.), The handbook of evolutionary psychology (pp.931-952). New Jersey: John Wiley y Sons.
CARROLL, N. (1999). Philosophy of art. A contemporary introduction. London: Routledge.
CARROLL, N. (ed.) (2000). Theories of art today. The University of Wisconsin Press.
CARROLL, N. (2010). Art in three dimensions. Oxford: Oxford University Press.
CARROLL, N., MOORE, M. y SEELEY, P. (2011). The philosophy of art and aesthetics, psychology, and neuroscience. Studies in literature, music, and visual arts. En Shimamura, A.P. y Palmer S.E. (eds), Aesthetic science. Connecting minds, brains, and experience (pp.31-62).
CELA-CONDE, C.J., AGNATI, L., HUSTON, J.P., MORA, F. y NADAL, M. (2011): The neural foundations of aesthetic appreciation. Prog. Neurobiol., 94, 39-48.
CELA-CONDE, C.J., AYALA, F.J., MUNAR, E., MAESTÚ, F., NADAL, M., CAPÓ, M.A., DEL RÍO, D., LÓPEZ-IBOR, J.J., ORTIZ, T., MIRASSO, C., y MARTY, G. (2009). Sex-Related Similarities and Differences in the Neural Correlates of Beauty. PNAS, 106, 3847-3852.
CELA-CONDE, C.J., MARTY, G., MAESTÚ, F., ORTIZ, T., MUNAR, E., FERNÁNDEZ, A., ROCA, M., ROSSELLÓ, J. y QUESNEY, F. (2004). Activation of the Prefrontal Cortex in the Human Visual Aesthetic Perception. PNAS, 101, 6321-6325.
CHATTERJEE, A. (2012). Neuroaesthetics: Growing Pains of a New Discipline. En Shimamura, A.P. y Palmer S.E. (eds), Aesthetic Science. Connecting Minds, Brains, and Experience (pp.299-317). Oxford University Press.
CHATTERJEE, A., y FARAH, M. J. (Eds.). (2013). Neuroethics in practice. OxfordUniversity Press.
COOLS, R. (2008a). Role of Dopamine in the Motivational and Cognitive Control of Behavior. Neuroscientist, 14(4), 381-395.
COOLS, R. (2008b). Dopaminergic modulation of flexible cognitive control: the role of the striatum. En Bunge, S.A.y Wallis J.D. (eds), Neuroscience of rule-guided behavior (pp.313-334).
COOLS, R., ROBERTS, A.C., y ROBBINS, T.W. (2007). Serotoninergic
Regulation of Emotional and Behavioral Control Processes. Trends Cog. Sci., 12, 31-40.
CUPCHIK, G.C., VARTANIAN, O., CRAWLEY, A. y MIKULIS, D.J. (2009). Viewing artworks: contributions of cognitive control and perceptual facilitation to aesthetic experience. Brain Cogn., 70, 84-91.
DAVIES, S. (2006). The philosophy of art. Blackwell.
DAVIES, S. y STECKER, R. (2009). Twentieth-century Anglo-American aesthetics. En Davies, S., Higgins, K.M., Hopkins, R., Stecker, R. y Cooper, D.E: (eds.), A Companion to Aesthetics. Second edition (pp.61-73). Blackwell publishing ldt.
DAYAN, P. y HUYS, Q.J.M. (2009). Serotonin in Affective Control. Annu. Rev. Neurosci., 32, 95-126.
FRIXIONE, M. (2011). Art, the Brain, and Family Resemblances: Some Considerations on Neuroaesthetics. Phil. Psy., 24(5), 699-715.
GOODENOUGH, O. R., y TUCKER, M. (2010). Law and cognitive neuroscience. Annu. Rev.Law Soc. Sci., 6, 61-92.
HAANSTRA, F., DAMEN, M.L., y VAN HOORN, M. (2013). Interestingness and Pleasingness of Drawings from Different Age and Expertise Groups. Empirical Studies of the Arts, 31(2), 173-194.
HEKKERT, P. y VAN WIERINGEN, P.C. (1996). Beauty in the Eye of Expert and Nonexpert Beholders: A Study in the Appraisal of Art. Ame. J. Psycho., 109(3), 389-407.
HUANG, M., BRIDGE, H., KEMP, M.J. y PARKER, A.J. (2011). Human Cortical Activity Evoked by the Assignment of Authenticity When Viewing Works of Art. Front. Hum. Neurosci., 5:134 doi: 10.3389/fnhum.2011.00134.
JACOBS, R.H.A.H., RENKEN, R. y CORNELISSEN, F.W. (2012). Neural Correlates of Visual Aesthetics- Beauty as the Coalescence of Stimulus and Internal State. PLoS ONE, 7(2): e31248. doi:10.1371/journal.pone.0031248.
JACOBSEN, T. (2006). Bridging the Arts and Sciences: A Framework for the Psychology of Aesthetics. Leonardo, 39(2), 155-162.
JUCKER, J.L., y BARRETT, J.L. (2011). Cognitive Constraints on the Visual Arts: an Empirical Study of the Role of Perceived Intentions in Appreciation Judgements. Journal of Cognition and Culture, 11(1-2).
KAPOULA, Z., DAUNYS, G., HERBEZ, O., y YANG, Q. (2009). Effect of Title on Eye-movement Exploration of Cubist Paintings by Fernand Léger. Perception, 38(4), 479-491.
KIRK, U., SKOV, M., CHRISTENSEN, M.S. y NYGAARD, N. (2009a). Brain Correlates of Aesthetic Expertise: a Parametric fMRI Study. Brain Cogn., 69, 306-315
KIRK, U., SKOV, M., HULME, O., CHRISTENSEN, M.S. y ZEKI, S. (2009b). Modulation of Aesthetic Value by Semantic Context: An fMRI study. Neuroimagen, 44, 1125-1132.
KOELSCH, S. y SIEBEL, W.A. (2005). Towards a Neural Basis of Music Perception. Trends Cog. Sci., 9:578-584.
KRUGER, J., WIRTZ, D., VAN BOVEN, L., y ALTERMATT, T.W. (2004). The effort heuristic. Journal of Experimental Social Psychology, 40(1), 91-98.
LANGER, F. (2012). Mental Imagery, Emotion, and Literary Task-sets Clues Towards a Literary Neuroart. J. Consci. Stu., 19(7-8), 168-215.
LANGER, F. (2016). Art Theory for (Neuro) Scientists: Bridging the Gap. Poetics Today, 37(4), 497-516.
LEDER, H., BELKE, B., OEBERST, A., y AUGUSTIN, D. (2004). A model of aesthetic appreciation and aesthetic judgments. British Journal of Psychology, 95(4), 489-508.
LEDER, H., CARBON, C. C., y RIPSAS, A. L. (2006). Entitling Art: Influence of Title Information on Understanding and Appreciation of Paintings. Acta psychologica, 121(2), 176-198.
LEDER, H., GERGER, G., DRESSLER, S.G. y SCHABMANN, A. (2012). How art is appreciated. Psycho. Aesth.Creat. Arts, 6(1), 1-9.
LENGGER, P.G., FISCHMEISTER, F.Ph.S., LEDER, H. y BAUER, H. (2007). Functional Neuroanatomy of the Perception of Modern Art: a DC-EEG Study on the Influence of Stylistic Information on Aesthetic Experience. Brain Res.
LOCHER, P.E., MARTINDALE, C.E. y DORFMAN, L.E. (eds.) (2006). New Directions in Aesthetics, Creativity and the Arts. Baywood Publishing Co.
LOCHER, P. J. (2011). Contemporary Experimental Aesthetics: State of the Art Technology. i-Perception, 2(7), 697707.
LOCHER, P. J. (2014). Contempory Experimental Aesthetics: Procedures and Findings. En Ginsburggh V. y Throsby D. (eds), Handbook of the Economics of Art And Culture (pp.49-80). Amsterdam: Elsevier.
LOCHER, P.J., SMITH, J.K., y SMITH, L.F. (2001). The Influence of Presentation Format and Viewer Training in the Visual Arts on the Perception of Pictorial and Aesthetic Qualities of Paintings. Perception, 30(4), 449-466.
LÓPEZ-SINTAS, J., GARCÍA-ÁLVAREZ, E. y PÉREZ-RUBIALES, E. (2012). The unforgettable aesthetic experience: the relationship between the originality of artworks and local culture. Poetics, 40, 337-358.
LOEWENSTEIN, G., RICK, S., y COHEN, J. D. (2008). Neuroeconomics. Annu. Rev. Psychol., 59, 647-672.
MASSEY, I. (2009): The Neural Imagination. Aesthetic and Neuroscientific Approaches to the Arts. Austin: University of Texas press.
MIALL, D. S. (2001). An Evolutionary Framework for Literary Reading. En Schram D. y Steen G. (eds) The Psychology and Sociology of Literature. In Honor of Elrud Ibsch (pp.407-420). John Benjamins Publishing Company.
MIALL, D. S. (2008). Foregrounding and Feeling in Response to Narrative. Directions in Empirical Literary Studies: In honor of Willie van Peer, 5, 89-102.
MIALL, D. S. (2009): Neuroaesthetics of Literary Reading. En Skov, M. y Vartanian, O (eds.), Neuroaesthetics (pp.233-247). Amityville, N.Y.: Baywood Publishing.
MIALL, D. S. (2011). Emotions and the Structuring of Narrative Responses. Poetics Today, 32(2), 323-348.
MILLIS, K. (2001). Making Meaning Brings Pleasure: the Influence of Titles on Aesthetic Experiences. Emotion, 1(3), 320-329.
MUNAR, E., NADAL, M., CASTELLANOS, N.P., FLEXAS, A., MAESTÚ, F.,
MIRASSO, C. y CELA-CONDE, C.J. (2012). Aesthetic Appreciation: Event-related Field and Time-frequency Analyses. Front. Hum. Neurosci., 5, 185, 1-11.
NADAL, M., MUNAR, E., CAPÓ, M.A., ROSSELLÓ, J. y CELA-CONDE, C.J. (2008). Towards a Framework for the Study of the Neural Correlates of Aesthetic Preference. Spatial Vis., 21, 3-5, 379-396.
NADAL, M. y PEARCE, M.T. (2011). The Copenhagen Neuroaesthetics Conference: Prospects and Pitfalls for an Emerging Field. Brain Cogn., 76, 172-183.
NODINE, C.F., LOCHER, P.J., y KRUPINSKI, E.A. (1993). The Role of Formal Art Training on Perception and Aesthetic Judgment of Art Compositions. Leonardo, 26(3), 219-227.
PERETZ, I. y ZATORRE, R.J. (2005). Brain Organization for Music Processing. Annu. Rev. Psychol. 56, 89114
PIHKO, E., VIRTANEN, A., SAARINEN, V-M., PANNASCH, S., HIRVENKARI, L., TOSSAVAINEN, T., HAAPALA, A. y HARI, R. (2011). Experiencing Art: the Influence of Expertise and Painting Abstraction Level. Front. Hum. Neurosci., 5:94, doi: 10.3389/fnhum.2011.00094
QUIROGA, R.Q. y PEDREIRA, C. (2011). How do we see art: an eye-tracker study. Front. Hum. Neurosci., 5, 98. doi: 10.3389/fnhum.2011.00098.
RAMACHANDRAN, V.S. y HIRSTEIN, W. (1999). The Science of Art. A Neurological Theory of Aesthetic Experience. J. Consciousness Studies, 6, (6-7), 15-51.
REDIES, C. (2008). A Universal Model of Esthetic Perception Based on the Sensory Coding of Natural Stimuli. Spatial Vis., 21(1), 97.
ROBERTS, A. C. (2008). Dopaminergic and Serotonergic Modulation of Two Distinct Forms of Flexible Cognitive Control: Attentional Set-shifting and Reversal Learning. En Bunge, S.A.y Wallis J.D. (2008) (eds), Neuroscience of rule-guided behavior (pp.283-312).
ROMERO, G. E. (2018). Outline of a Theory of Scientific Aesthetics. Foundations of Science, 1-13.
RUSSELL, B. (1927). An Outline of Philosophy. London: George Allen y Unwin Ldt.
SIGMAN, M., PEÑA, M., GOLDIN, A.P., y RIBEIRO, S. (2014). Neuroscience and Education: Prime Time to Build the Bridge. Nat. Neurosci., 17(4), 497-502.
SILVA, P. J. (2009). Looking past pleasure: anger, confusion, disgust, pride, surprise, and other unusual aesthetic emotions. Psychology of Aesthetics, Creativity, and the Arts, 3(1), 48-51.
SILVA, P. J. (2012). Human Emotions and Aesthetic Experience: an Overview of Empirical Aesthetics. En Shimamura, A.P. y Palmer S.E. (eds), Aesthetic science. Connecting minds, brains, and experience (pp.250-275).
SKOV, M., y VARTANIAN, O. (2009). Neuroaesthetics, Foundations and Frontiers in Aesthetics. Amityville: Baywood.
SLOTNIK, S. D. (2004). Visual Memory and Visual Perception Recruit Common Neural Substrate. Beh. Cog. Neurosci. Rev., 3 (4), 207-221.
SLOTNIK, S. D. (2008): Imagery: mental pictures disrupt perceptual rivalry in: Curr. Biol., Vol. 18, No. 14, 603-605.
SLOTNICK, S.D., THOMPSON, W.L., KOSSLYN, S.M. (2005).Visual Mental Imagery Induces Retinotopically Organized Activation of Early Visual Areas. Cereb. Cortex, 15, 1570-1583.
SMITH CHURCHLAND, P. (1989). Neurophilosophy. Massachusetts: M.I.T. Press.
SMITH CHURCHLAND, P. (2002). Brain-wise: Studies in neurophilosophy. Massachusetts: M.I.T. Press.
SPECHT, S., M. (2008). The Influence of Artists Statements on Perceptions of Artwork. 20th Biennial Congress of the International Association of Empirical Aesthetics (IAEA), Chicago, IL, USA.
SPRENG, R.N. y GRADY, C.L. (2010). Patterns of Brain Activity Supporting Autobiographical Memory, Prospection, and Theory of Mind, and their Relationship to the Default Mode Network. J. Cog. Neurosci., 22(6), 1112-1123.
TALLIS, R. (2008). The Neuroscience Delusion. Neuroaesthetics is Wrong About our Experience of Literature and is Wrong About Humanity. The Times literary supplement, 04/09/2008.
VARTANIAN, O. y GOEL, V. (2004). Neuroanatomical correlates of aesthetic preference for paintings. Neuroreport, 15, 893-897.
VESSEL, E.A., STARR, G.G. y RUBIN, N. (2012). The Brain on Art: Intense Aesthetic Experience Activates the Default Mode Network. Front. Hum. Neuroscie, 6, 66.
VON HOLSTEIN, M., AARTS, E., VAN DER SCHAAF, M.E., GEURTS, D.E.M.,
VERKES, R.J., FRANKE, B., VAN SCHOUWENBURG, M.R. y COOLS, R. (2011). Human Cognitive Flexibility Depends on Dopamine D2 Receptor Signaling. Psychopharmacology, 218, 567-578.
VON LINDERN, E. (2008). Is the Aesthetic Judgement of Museum Visitors Biased If Rating Well-Known Objects? 20th Biennial Congress of the International Association of Empirical Aesthetics (IAEA), Chicago, IL, USA.
WESTEN, D. (2008). Political Brain: The Role of Emotion in Deciding the Fate of the Nation. PublicAffairs.
WIESMANN, M. y ISHAI, A. (2010). Training Facilitates Object Recognition in Cubist Paintings. Front. Hum. Neurosci., 4:11. doi: 10.3389/neuro.09.011.2010.
WOLZ, S.H., y CARBON, C.C. (2014). Whats wrong with an art fake? Cognitive and emotional variables influenced by authenticity status of artworks (in press - Leonardo).
ZAIDEL, D. W. (2010): Art and brain: insights from neuropsychology, biology and evolution in: J. Anat., 216, 177-183.
ZEKI, S. (1999). Inner Vision: An Exploration of Art and the Brain. New York: Oxford University Press.
ZEKI, S. (2002). Neural Concept Formation y Art: Dante, Michelangelo, Wagner Something, and Indeed the Ultimate Thing, must be Left over for the Mind to do. J. Consci. Stu., 9(3), 53-76.
Publicado
2019-09-12
Número
Sección
El asalto de lo impensado
Cómo citar
Estética y neurociencia: estableciendo puentes. (2019). Pelícano, 5, 209-229. https://doi.org/10.22529/p.2019.5.12
