Why and how should cognitive science care about aesthetics?

Empirical aesthetics has found its way into mainstream cognitive science. Until now, most research has focused either on identifying the internal processes that underlie a perceiver’s aesthetic experience or on identifying the stimulus features that lead to a specific type of aesthetic experience. To progress, empirical aesthetics must integrate these approaches into a unified paradigm that encourages researchers to think in terms of temporal dynamics and interactions between: (i) the stimulus and the perceiver; (ii) different systems within the perceiver; and (iii) different layers of the stimulus. At this critical moment, empirical aesthetics must also clearly identify and define its key concepts, sketch out its agenda, and specify its approach to grow into a coherent and distinct discipline

The emotional power of poetry: Neural circuitry, psychophysiology, compositional principles

It is a common experience-and well established experimentally-that music can engage us emotionally in a compelling manner. The mechanisms underlying these experiences are receiving increasing scrutiny. However, the extent to which other domains of aesthetic experience can similarly elicit strong emotions is unknown. Using psychophysiology, neuroimaging, and behavioral responses, we show that recited poetry can act as a powerful stimulus for eliciting peak emotional responses, including chills and objectively measurable goosebumps that engage the primary reward circuitry. Importantly, while these responses to poetry are largely analogous to those found our music, their neural underpinnings show important differences, specifically with regard to the crucial role of the nucleus accumbens. We also go beyond replicating previous music-related studies by showing that peak aesthetic pleasure can co-occur with physiological markers of negative affect. Finally, the distribution of chills across the trajectory of poems provides insight into compositional principles of poetry

Effects of dipole position, orientation and noise on the accuracy of EEG source localization

BACKGROUND: The electroencephalogram (EEG) reflects the electrical activity in the brain on the surface of scalp. A major challenge in this field is the localization of sources in the brain responsible for eliciting the EEG signal measured at the scalp. In order to estimate the location of these sources, one must correctly model the sources, i.e., dipoles, as well as the volume conductor in which the resulting currents flow. In this study, we investigate the effects of dipole depth and orientation on source localization with varying sets of simulated random noise in 4 realistic head models. METHODS: Dipole simulations were performed using realistic head models and using the boundary element method (BEM). In all, 92 dipole locations placed in temporal and parietal regions of the head with varying depth and orientation were investigated along with 6 different levels of simulated random noise. Localization errors due to dipole depth, orientation and noise were investigated. RESULTS: The results indicate that there are no significant differences in localization error due tangential and radial dipoles. With high levels of simulated Gaussian noise, localization errors are depth-dependant. For low levels of added noise, errors are similar for both deep and superficial sources. CONCLUSION: It was found that if the signal-to-noise ratio is above a certain threshold, localization errors in realistic head models are, on average the same for deep and superficial sources. As the noise increases, localization errors increase, particularly for deep sources

Locus of emotion influences psychophysiological reactions to music

It is now widely accepted that the perception of emotional expression in music can be vastly different from the feelings evoked by it. However, less understood is how the locus of emotion affects the experience of music, that is how the act of perceiving the emotion in music compares with the act of assessing the emotion induced in the listener by the music. In the current study, we compared these two emotion loci based on the psychophysiological response of 40 participants listening to 32 musical excerpts taken from movie soundtracks. Facial electromyography, skin conductance, respiration and heart rate were continuously measured while participants were required to assess either the emotion expressed by, or the emotion they felt in response to the music. Using linear mixed effects models, we found a higher mean response in psychophysiological measures for the “perceived” than the “felt” task. This result suggested that the focus on one’s self distracts from the music, leading to weaker bodily reactions during the “felt” task. In contrast, paying attention to the expression of the music and consequently to changes in timbre, loudness and harmonic progression enhances bodily reactions. This study has methodological implications for emotion induction research using psychophysiology and the conceptualization of emotion loci. Firstly, different tasks can elicit different psychophysiological responses to the same stimulus and secondly, both tasks elicit bodily responses to music. The latter finding questions the possibility of a listener taking on a purely cognitive mode when evaluating emotion expression

The Power of Poetry

From prehistory onward, poetic language has been widely used in the context of great personal, social, and emotional significance, reaching from large scale events, such as religious ceremonies, political occasions (including inaugurations of American presidents), and artistic contexts to more private gatherings, such as birthday parties, declarations of love, and parent–child interactions. Poetic language is capable of reaching deeply into the phylogenetically ancient structures of the human brain and providing profound aesthetic pleasures to its recipients. Yet a thorough scientific investigation of the workings of poetic language in the brain is only at its very beginnings. In the article under discussion, the authors review a study that focused on the emotional power of poetic language. In this project, they strived to integrate and interrelate perspectives from experimental psychology, neuroscience, rhetoric/poetics, psychophysiology, and philosophy. They argue that such a multidisciplinary approach is key to unraveling the mysteries of human aesthetic processing

The emotional and aesthetic powers of parallelistic diction

Parallelistic features of poetic and rhetorical language use comprise a great variety of linguistically optional patterns of phonological, prosodic, syntactic, and semantic recurrence. Going beyond studies on cognitive facilitation effects of individual parallelistic features (most notably rhyme, alliteration, and meter), the present study shows that the joint employment of multiple such features in 40 sad and joyful poems intensifies all emotional response dimensions (joy, sadness, being moved, intensity, and positive affect) and all aesthetic appreciation dimensions (beauty, liking, and melodiousness) that we measured. Given that parallelistic diction is also used, to different degrees, in ritual language, commercial ads, political slogans, and everyday conversations, the implications of these findings are potentially far-reaching

What are aesthetic emotions?

This is the first comprehensive theoretical article on aesthetic emotions. Following Kant’s definition, we propose that it is the first and foremost characteristic of aesthetic emotions to make a direct contribution to aesthetic evaluation/appreciation. Each aesthetic emotion is tuned to a special type of perceived aesthetic appeal and is predictive of the subjectively felt pleasure or displeasure and the liking or disliking associated with this type of appeal. Contrary to the negativity bias of classical emotion catalogues, emotion terms used for aesthetic evaluation purposes include far more positive than negative emotions. At the same time, many overall positive aesthetic emotions encompass negative or mixed emotional ingredients. Appraisals of intrinsic pleasantness, familiarity, and novelty are preeminently important for aesthetic emotions. Appraisals of goal relevance/conduciveness and coping potential are largely irrelevant from a pragmatic perspective, but in some cases highly relevant for cognitive and affective coping. Aesthetic emotions are typically sought and savored for their own sake, with subjectively felt intensity and/or emotional arousal being rewards in their own right. The expression component of aesthetic emotions includes laughter, tears, and facial and bodily movements, along with applause or booing and words of praise or blame. Aesthetic emotions entail motivational approach and avoidance tendencies, specifically, tendencies toward prolonged, repeated, or interrupted exposure and wanting to possess aesthetically pleasing objects. They are experienced across a broad range of experiential domains and not coextensive with art-elicited emotions. (PsycINFO Database Record (c) 2019 APA, all rights reserved