Crossing boundaries: toward a general model of neuroaesthetics
Identifieur interne : 000664 ( Pmc/Checkpoint ); précédent : 000663; suivant : 000665Crossing boundaries: toward a general model of neuroaesthetics
Auteurs : Manuela M. MarinSource :
- Frontiers in Human Neuroscience [ 1662-5161 ] ; 2015.
Url:
DOI: 10.3389/fnhum.2015.00443
PubMed: 26300762
PubMed Central: 4528177
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<record><TEI><teiHeader><fileDesc><titleStmt><title xml:lang="en">Crossing boundaries: toward a general model of neuroaesthetics</title><author><name sortKey="Marin, Manuela M" sort="Marin, Manuela M" uniqKey="Marin M" first="Manuela M." last="Marin">Manuela M. Marin</name></author></titleStmt><publicationStmt><idno type="wicri:source">PMC</idno><idno type="pmid">26300762</idno><idno type="pmc">4528177</idno><idno type="url">http://www.ncbi.nlm.nih.gov/pmc/articles/PMC4528177</idno><idno type="RBID">PMC:4528177</idno><idno type="doi">10.3389/fnhum.2015.00443</idno><date when="2015">2015</date><idno type="wicri:Area/Pmc/Corpus">000068</idno><idno type="wicri:Area/Pmc/Curation">000068</idno><idno type="wicri:Area/Pmc/Checkpoint">000664</idno></publicationStmt><sourceDesc><biblStruct><analytic><title xml:lang="en" level="a" type="main">Crossing boundaries: toward a general model of neuroaesthetics</title><author><name sortKey="Marin, Manuela M" sort="Marin, Manuela M" uniqKey="Marin M" first="Manuela M." last="Marin">Manuela M. Marin</name></author></analytic><series><title level="j">Frontiers in Human Neuroscience</title><idno type="eISSN">1662-5161</idno><imprint><date when="2015">2015</date></imprint></series></biblStruct></sourceDesc></fileDesc><profileDesc><textClass></textClass></profileDesc></teiHeader><back><div1 type="bibliography"><listBibl><biblStruct><analytic><author><name sortKey="Augustin, M D" uniqKey="Augustin M">M. D. Augustin</name></author><author><name sortKey="Carbon, C C" uniqKey="Carbon C">C.-C. Carbon</name></author><author><name sortKey="Wagemans, J" uniqKey="Wagemans J">J. Wagemans</name></author></analytic></biblStruct><biblStruct><analytic><author><name sortKey="Ballesteros, S" uniqKey="Ballesteros S">S. Ballesteros</name></author><author><name sortKey="Reales, J M" uniqKey="Reales J">J. M. Reales</name></author></analytic></biblStruct><biblStruct><analytic><author><name sortKey="Baumgarten, A G" uniqKey="Baumgarten A">A. G. 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<front><journal-meta><journal-id journal-id-type="nlm-ta">Front Hum Neurosci</journal-id><journal-id journal-id-type="iso-abbrev">Front Hum Neurosci</journal-id><journal-id journal-id-type="publisher-id">Front. Hum. Neurosci.</journal-id><journal-title-group><journal-title>Frontiers in Human Neuroscience</journal-title></journal-title-group><issn pub-type="epub">1662-5161</issn><publisher><publisher-name>Frontiers Media S.A.</publisher-name></publisher></journal-meta><article-meta><article-id pub-id-type="pmid">26300762</article-id><article-id pub-id-type="pmc">4528177</article-id><article-id pub-id-type="doi">10.3389/fnhum.2015.00443</article-id><article-categories><subj-group subj-group-type="heading"><subject>Neuroscience</subject><subj-group><subject>Opinion</subject></subj-group></subj-group></article-categories><title-group><article-title>Crossing boundaries: toward a general model of neuroaesthetics</article-title></title-group><contrib-group><contrib contrib-type="author"><name><surname>Marin</surname><given-names>Manuela M.</given-names></name><xref ref-type="author-notes" rid="fn001"><sup>*</sup></xref><uri xlink:type="simple" xlink:href="http://loop.frontiersin.org/people/74346/overview"></uri></contrib></contrib-group><aff><institution>Department of Basic Psychological Research and Research Methods, University of Vienna</institution><country>Vienna, Austria</country></aff><author-notes><fn fn-type="edited-by"><p>Edited by: Oshin Vartanian, Toronto Research Centre, Canada</p></fn><fn fn-type="edited-by"><p>Reviewed by: Zaira Cattaneo, University of Milano-Bicocca, Italy</p></fn><corresp id="fn001">*Correspondence: Manuela M. Marin, <email xlink:type="simple">manuela.marin@univie.ac.at</email></corresp></author-notes><pub-date pub-type="epub"><day>07</day><month>8</month><year>2015</year></pub-date><pub-date pub-type="collection"><year>2015</year></pub-date><volume>9</volume><elocation-id>443</elocation-id><history><date date-type="received"><day>15</day><month>6</month><year>2015</year></date><date date-type="accepted"><day>21</day><month>7</month><year>2015</year></date></history><permissions><copyright-statement>Copyright © 2015 Marin.</copyright-statement><copyright-year>2015</copyright-year><copyright-holder>Marin</copyright-holder><license xlink:href="http://creativecommons.org/licenses/by/4.0/"><license-p>This is an open-access article distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction in other forums is permitted, provided the original author(s) or licensor are credited and that the original publication in this journal is cited, in accordance with accepted academic practice. No use, distribution or reproduction is permitted which does not comply with these terms.</license-p></license></permissions><kwd-group><kwd>neuroaesthetics</kwd><kwd>crossmodal</kwd><kwd>multimodal</kwd><kwd>interdisciplinarity</kwd><kwd>humanities</kwd></kwd-group><funding-group><award-group><funding-source id="cn001">Open Access Publishing Fund</funding-source></award-group></funding-group><counts><fig-count count="0"></fig-count><table-count count="0"></table-count><equation-count count="0"></equation-count><ref-count count="79"></ref-count><page-count count="5"></page-count><word-count count="4252"></word-count></counts></article-meta></front><body><p>Since its dawn in the early 2000s, neuroaesthetics has been flowering as an independent research field (Nadal and Skov, <xref rid="B57" ref-type="bibr">2013</xref>). Its emergence has mostly been driven by researchers who specialize in the study of visual perception and cognition, and who show interest in visual arts. This strong link between neuroaesthetics and vision science is reflected not only by the fact that the term “neuroaesthetics” was coined by the renowned vision researcher Semir Zeki (Zeki and Nash, <xref rid="B78" ref-type="bibr">1999</xref>), but also by recent reviews on neuroaesthetics focusing primarily on aesthetic experiences induced by paintings, abstract patterns, landscapes, faces, architecture, fashion and design objects (Cinzia and Vittorio, <xref rid="B29" ref-type="bibr">2009</xref>; Cela-Conde et al., <xref rid="B21" ref-type="bibr">2011</xref>; Chatterjee, <xref rid="B25" ref-type="bibr">2011</xref>, <xref rid="B27" ref-type="bibr">2014</xref>; Nadal, <xref rid="B58" ref-type="bibr">2013</xref>; Chatterjee and Vartanian, <xref rid="B23" ref-type="bibr">2014</xref>). Current models of aesthetic experiences and their brain correlates revolve around the visual modality and include moderators of aesthetic experiences (social, cultural and situational context, personality, expertise etc.) (Ramachandran and Hirstein, <xref rid="B61" ref-type="bibr">1999</xref>; Chatterjee, <xref rid="B24" ref-type="bibr">2004</xref>; Tinio, <xref rid="B68" ref-type="bibr">2013</xref>; Leder and Nadal, <xref rid="B50" ref-type="bibr">2014</xref>; Redies, <xref rid="B62" ref-type="bibr">2015</xref>). These models are not exclusively concerned with the study of beauty or preference, although these concepts are of historical importance, but include a wide range of aesthetic emotions, judgements, and behaviors.</p><p>What may be the underlying reasons for this prevalence of studying the neural underpinnings of visual aesthetic experiences? As in any developing research field, it takes a critical number of researchers who are motivated to organize and attend conferences on a given topic (the first conference on Neuroaesthetics took place in 2009, see Nadal and Pearce, <xref rid="B56" ref-type="bibr">2011</xref>), to write books (Zeki and Nash, <xref rid="B78" ref-type="bibr">1999</xref>; Shimamura and Palmer, <xref rid="B64" ref-type="bibr">2012</xref>; Chatterjee, <xref rid="B26" ref-type="bibr">2013</xref>) and to edit special issues in research journals (Nadal and Skov, <xref rid="B57" ref-type="bibr">2013</xref>). Since the vision science community is relatively large in comparison to other research communities in the field of experimental psychology, it is not unanticipated that several prominent figures were able to attract the attention of younger researchers to help launch this fascinating research field. Another reason for the leading status of visual neuroaesthetics may be that, before the advent of neuroscience, interest in empirical aesthetics was stronger in the vision science community than in other research communities. Therefore, the move toward applying neuroimaging methods to questions related to aesthetic experiences seemed the next logical step. Furthermore, the investigation of aesthetic responses to static images of different kinds may be easier than the study of dynamic images, such as film, video art and the performing arts, and the study of dynamic artforms, such as music and poetry.</p><p>Lately, the prolific efforts of the visual neuroaesthetics community have attracted the attention of researchers working outside vision science. For example, the number of publications on music, aesthetics and the brain has clearly increased in the last few years (Brattico and Pearce, <xref rid="B12" ref-type="bibr">2013</xref>; Zatorre and Salimpoor, <xref rid="B77" ref-type="bibr">2013</xref>; Koelsch, <xref rid="B48" ref-type="bibr">2014b</xref>), and a neurocognitive model of the aesthetic experience of music was recently published (Brattico et al., <xref rid="B11" ref-type="bibr">2013</xref>). Similarly, research on the neuroaesthetics of literature reception (Bohrn et al., <xref rid="B8" ref-type="bibr">2013</xref>; Jacobs, <xref rid="B39" ref-type="bibr">2015</xref>) and dance (Calvo-Merino et al., <xref rid="B17" ref-type="bibr">2008</xref>; Cross and Ticini, <xref rid="B31" ref-type="bibr">2012</xref>; Christensen and Calvo-Merino, <xref rid="B28" ref-type="bibr">2013</xref>) has opened new pathways to a deeper understanding of aesthetic experiences. With this in mind, it is very refreshing to see that, for instance, comparative brain imaging studies (Ishizu and Zeki, <xref rid="B38" ref-type="bibr">2011</xref>), metanalyses incorporating different perceptual senses (Brown et al., <xref rid="B14" ref-type="bibr">2011</xref>) and reviews considering different artforms (Nadal, <xref rid="B58" ref-type="bibr">2013</xref>) have been published. Furthermore, an interdisciplinary neuroscience of aesthetic experiences across the three Sister Arts (paintings, poetry, and music) has recently been proposed (Starr, <xref rid="B67" ref-type="bibr">2013</xref>). Undoubtedly, these pioneering attempts may indicate that neuroaesthetics will move away from a field primarily concerned with visual artforms to a field encompassing different artistic modalities in the future. But can this expansion to other artforms be the ultimate goal of the field?</p><p>Although the study of aesthetic experiences across different artforms appears a promising avenue because it may lead to broader, overarching theories of aesthetic experiences, such an endeavor may still remain restrictive. The reasons for this are manifold. A neuroaesthetics of the arts is not in line with the initial, broad definition of aesthetics (<italic>scientia cognitionis sensitivae</italic>) by Baumgarten (<xref rid="B3" ref-type="bibr">2007, 1750/1758</xref>), but rather based on the notion that aesthetics concerns the study of the arts and beauty. Moreover, Kant already considered human-made art as well as nature in his reflections on aesthetics in his <italic>Critique of Judgment</italic> (1790), thus suggesting a comprehensive approach to aesthetics. In the last third of the twentieth century, philosophy witnessed a revival of this view by the emergence of environmental aesthetics (Carlson, <xref rid="B19" ref-type="bibr">2000</xref>; Budd, <xref rid="B15" ref-type="bibr">2002</xref>). Purely art-based research in empirical aesthetics is also not in line with the influential empirical approach proposed by Berlyne (<xref rid="B6" ref-type="bibr">1960</xref>, <xref rid="B7" ref-type="bibr">1971</xref>) in his “new experimental aesthetics,” which conceived aesthetics within the realm of motivation, curiosity, and exploratory behavior in humans and animals. Therefore, a narrow, arts-based approach to neuroaesthetics does not do justice to the frequent induction of aesthetic experiences by objects other than artworks (i.e., natural landscapes, food, faces, bodies, sounds etc.) (Jacobsen, <xref rid="B40" ref-type="bibr">2006</xref>; Brown and Dissanayake, <xref rid="B13" ref-type="bibr">2009</xref>; Tinio, <xref rid="B68" ref-type="bibr">2013</xref>; Zaidel, <xref rid="B75" ref-type="bibr">2015</xref>), but probably also hinders any substantial theoretical developments in the context of evolutionary aesthetics (Grammer et al., <xref rid="B36" ref-type="bibr">2003</xref>). Hence, the neuroaesthetics community will need to follow a comprehensive, broad approach by incorporating the widest possible range of objects unless neuroartsology (Brown and Dissanayake, <xref rid="B13" ref-type="bibr">2009</xref>), i.e., a neuroaesthetics on human art, is in the center of interest. However, this does not entail that neuroaesthetics should become a discipline in which the motto “anything goes” is prevailing. On the contrary, objects of interest should be primarily those for which it has already been shown that they have the capacity to induce aesthetic experiences in humans.</p><p>Given that empirical aesthetics in general and neuroaesthetics in particular are lacking a broad theory of aesthetic experiences, which may partly be a byproduct of the general specialization in psychological research after World War II, it is a valid question to ask whether such a general theory of aesthetic experiences and underlying brain correlates should be the goal of the field. In my opinion, the striving for broad, overarching theories, even if they develop out of influential narrow theories such as those on aesthetic responses to human visual artworks, may yield crucial insights into the nature of aesthetic experiences that may otherwise have been missed. Even if extensive efforts devoted to advance a general theory of aesthetic experiences eventually fail, insights into the specificities of aesthetic experiences would not become apparent if aesthetic experiences were not systematically compared among different types of external objects (based on perception) and internal objects (based on thoughts and mental imagery). In other words, the question of whether specific aesthetic theories (e.g., those restricted to art) are justified can only be answered by trying to falsify the findings obtained for one type of object. As an illustration, inventive studies such as those comparing the processing of moral and facial beauty (Wang et al., <xref rid="B71" ref-type="bibr">2015</xref>) or beauty induced by paintings and music (Ishizu and Zeki, <xref rid="B38" ref-type="bibr">2011</xref>) should be highlighted. In a similar vein, neuroimaging studies investigating the beauty of mathematical formulas (Zeki et al., <xref rid="B79" ref-type="bibr">2014</xref>) are equally encouraging.</p><p>How could such an ambitious goal of a general theory of neuroaesthetics be accomplished in the long run? One possibility is to further develop the study of other basic senses than vision, that is, to expand the <italic>sensory-based</italic> approach to empirical aesthetics. In general, it is not known yet whether effects reported for (different types of) visual objects generalize to other sensory domains. Therefore, a systematic comparative approach could offer new insights into meta-sensory findings and those that are unique for a sense. Such an approach does not always entail the use of different types of sensory stimuli within one research design, but also a replication of effects found for the visual domain with other sensory domains. For example, does the often reported mere-exposure effect (Zajonc, <xref rid="B76" ref-type="bibr">1968</xref>) hold true for all types of sensory objects categories (Bornstein, <xref rid="B10" ref-type="bibr">1989</xref>)? And more specifically, are the neural correlates of this effect, like those recently shown for faces (Kongthong et al., <xref rid="B49" ref-type="bibr">2014</xref>), same or different across sensory domains and objects? Notably, the study of haptic perception in relation to aesthetic experiences has already yielded some promising results by following this research strand (Hintz and Nelson, <xref rid="B37" ref-type="bibr">1971</xref>; Ballesteros and Reales, <xref rid="B2" ref-type="bibr">2004</xref>; Jansson-Boyd and Marlow, <xref rid="B43" ref-type="bibr">2007</xref>; Juricevic, <xref rid="B44" ref-type="bibr">2009</xref>; Jakesch et al., <xref rid="B42" ref-type="bibr">2011</xref>; Jakesch and Carbon, <xref rid="B41" ref-type="bibr">2012</xref>; Etzi et al., <xref rid="B33" ref-type="bibr">2014</xref>), which have recently not only led to initial speculations of underlying brain correlates (Gallace and Spence, <xref rid="B34" ref-type="bibr">2011</xref>) but also to the development of a model of haptic aesthetic processing (Carbon and Jakesch, <xref rid="B18" ref-type="bibr">2013</xref>).</p><p>As implied above, moving toward a general theory of neuroaesthetics will also require the systematic comparison of different object classes <italic>within</italic> one sensory domain, which is already ongoing to some degree (Vessel et al., <xref rid="B70" ref-type="bibr">2014</xref>). However, there exists a vast array of possibilities of how to categorize objects within one sensory modality. In the visual domain, categories may range from human vs. non-human, human artwork vs. non-artwork, static vs. dynamic, utilitarian vs. decorative, to abstract vs. representational, to name only a few possible categories. The brain correlates of different object classes in relation to aesthetic experiences have already been partly compared in the visual domain (Cela-Conde et al., <xref rid="B22" ref-type="bibr">2004</xref>; Kawabata and Zeki, <xref rid="B46" ref-type="bibr">2004</xref>; Cattaneo et al., <xref rid="B20" ref-type="bibr">2014</xref>), but this endeavor could be more rigorously followed and expanded to other sensory domains.</p><p>Another slowly growing research path is concerned with the direct comparison of perceptual, cognitive and affective processes <italic>across</italic> sensory domains within one research design. Such an approach is particularly valuable because it is mostly driven by concrete cross-domain research questions, often applies implicit or indirect tests, allows for a stricter control of participant characteristics, and importantly, does not ignore the fact that we live in a multimodal world with multimodal artforms. In fact, there is a wide variety of recent behavioral and neurophysiological evidence against the notion of strict modularity of sensory modalities in humans (De Gelder and Bertelson, <xref rid="B32" ref-type="bibr">2003</xref>; Shams and Kim, <xref rid="B63" ref-type="bibr">2010</xref>; Gerdes et al., <xref rid="B35" ref-type="bibr">2014</xref>) and animals (Van Wassenhove et al., <xref rid="B69" ref-type="bibr">2012</xref>), which challenges the long-standing view of studying perception (and action) primarily from a unimodal perspective. In the field of empirical aesthetics, the small number of studies that follows this attitude does not take human artworks as a starting point for their investigations. Yet psychological concepts that have proven to be relevant for theories of aesthetic experiences, such as complexity (Boon et al., <xref rid="B9" ref-type="bibr">2011</xref>; Marin and Leder, <xref rid="B54" ref-type="bibr">2013</xref>), are currently examined across domains. Furthermore, aesthetic emotions in different artforms have been extensively studied (Silvia, <xref rid="B65" ref-type="bibr">2005</xref>; Juslin, <xref rid="B45" ref-type="bibr">2013</xref>; Koelsch, <xref rid="B47" ref-type="bibr">2014a</xref>), but studies with crossmodal or multimodal designs are still outnumbered except for those on emotional pictures and sounds (e.g., Baumgartner et al., <xref rid="B4" ref-type="bibr">2006a</xref>,<xref rid="B5" ref-type="bibr">b</xref>; Spreckelmeyer et al., <xref rid="B66" ref-type="bibr">2006</xref>; Logeswaran and Bhattacharya, <xref rid="B51" ref-type="bibr">2009</xref>; Marin and Bhattacharya, <xref rid="B52" ref-type="bibr">2011</xref>; Petrini et al., <xref rid="B59" ref-type="bibr">2011</xref>; Marin et al., <xref rid="B53" ref-type="bibr">2012</xref>; Gerdes et al., <xref rid="B35" ref-type="bibr">2014</xref>). A related issue concerns one of the core concepts of the field, namely beauty, and how it may differ in artforms (Augustin et al., <xref rid="B1" ref-type="bibr">2012</xref>), types of objects (Marković, <xref rid="B55" ref-type="bibr">2014</xref>), and neural processes (Ishizu and Zeki, <xref rid="B38" ref-type="bibr">2011</xref>). Hopefully these valuable comparative studies will inspire researchers to continue working along these lines.</p><p>It must be remembered that a comparative approach to neuroaesthetics requires knowledge that may go beyond the expertise of an individual researcher, who usually works on a specialized research topic within a subfield of experimental psychology or cognitive neuroscience (e.g., emotion, visual, auditory and haptic perception, multisensory processing, psycho- and neurolinguistics, numerical cognition etc.). Clearly, collaborations of researchers with different backgrounds may yield better results. I also see much potential in a tighter collaboration between the humanities (musicology, art history, literary studies, dance studies, media and communication studies, semiotics, linguistics, philosophy, and mathematics) and the sciences (psychology, biology, and neuroscience) to gain a better understanding of aesthetic experiences. People trained in the humanities have the ability to detect aesthetically relevant phenomena by analytical thinking and abstraction. This usually goes hand in hand with the development of an appropriate terminology, classification system, and theoretical framework. For instance, the comparative study of human artforms has led to a research field called intermediality studies (Rajewsky, <xref rid="B60" ref-type="bibr">2005</xref>), in which specific characteristics of media as well as their complex relations are the focus of interest. This field has already provided valuable theoretical insights into phenomena that contribute to people's aesthetic experiences across media such as music, literature and the visual arts (Wolf and Bernhart, <xref rid="B72" ref-type="bibr">2006</xref>, <xref rid="B73" ref-type="bibr">2007</xref>, <xref rid="B74" ref-type="bibr">2013</xref>). However, these theories have not been subjected to empirical research methods yet. The humanities' awareness of the historical, social and cultural context in which artworks are embedded constitutes another asset that the sciences unfortunately often lack (Bullot and Reber, <xref rid="B16" ref-type="bibr">2013</xref>; Redies, <xref rid="B62" ref-type="bibr">2015</xref>). Importantly, intermediality studies could potentially be extended beyond the realm of arts and offer a refined alternative to the investigation of aesthetic experiences by going beyond the study of beauty and preference (Chatterjee and Vartanian, <xref rid="B23" ref-type="bibr">2014</xref>; Consoli, <xref rid="B30" ref-type="bibr">2015</xref>).</p><p>All things considered, I believe that advances in neuroaesthetics can be made by attracting more scientists and humanists from outside the visual aesthetics community, by comparing diverse aesthetic experiences across sensory modalities, and by giving up the notion that aesthetics concerns exclusively the study of beauty and the arts. Based on the knowledge generated by this comprehensive and comparative approach to neuroaesthetics, the study of top-down influences and moderators of aesthetic experiences as well as of aesthetic experiences induced by internal objects may become easier to accomplish from a neuroscientific perspective in the future.</p><sec><title>Conflict of interest statement</title><p>The author declares that the research was conducted in the absence of any commercial or financial relationships that could be construed as a potential conflict of interest.</p></sec></body><back><ack><p>This article was supported by the Open Access Publishing Fund of the University of Vienna. I would like to thank Bruno Gingras and Martina Jakesch for helpful comments on an earlier version of the manuscript.</p></ack><ref-list><title>References</title><ref id="B1"><mixed-citation publication-type="journal"><person-group person-group-type="author"><name><surname>Augustin</surname><given-names>M. 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