Contributors |
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v | |
Preface |
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xxiii | |
Introduction |
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xxvii | |
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SECTION 1 EVOLUTION OF ART AND BRAIN |
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Chapter 1 Bioaesthetics: The evolution of aesthetic cognition in humans and other animals |
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3 | (22) |
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3 | (3) |
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2 Animal Aesthetics: Prum's Extension of Darwin |
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6 | (1) |
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3 Implications of Prum's Coevolutionary Perspective |
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7 | (3) |
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4 Beyond the Coevolutionary Model |
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10 | (3) |
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5 The Emergence of Cultural Evolution in Human Aesthetics |
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13 | (2) |
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15 | (2) |
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17 | (8) |
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20 | (1) |
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20 | (5) |
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Chapter 2 Culture and art: Importance of art practice, not aesthetics, to early human culture |
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25 | (16) |
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25 | (1) |
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26 | (1) |
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3 Brain and Value of Symbolic Cognition |
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27 | (1) |
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4 Early Humans and Culture: Background |
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28 | (1) |
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5 Culture and Art: Archaeological Findings and Early Humans |
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29 | (1) |
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6 Culture and the Earliest Nonmaterial Arts: From Utilitarian Application to Symbolic Practice |
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30 | (1) |
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7 Culture and the Earliest Nonmaterial Arts: Skills Deeply Rooted in Biology |
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31 | (1) |
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8 Culture and the Earliest Nonmaterial Arts: Sound Rhythms |
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32 | (1) |
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9 Art and Culture: Brain Evolution and Neuropsychology |
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33 | (1) |
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10 Biology of Culture: Gene-Culture Coevolution and the Role of Art |
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34 | (1) |
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34 | (7) |
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35 | (6) |
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Chapter 3 Art and brain coevolution |
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41 | (20) |
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42 | (2) |
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44 | (2) |
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2.1 Why DNM Remains Activated in Neuroaesthetics Experiments? |
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44 | (2) |
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3 Functional Connectivity |
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46 | (3) |
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4 Perceiving Beauty as a Human Trait |
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49 | (5) |
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4.1 When Did This Capacity Appear? |
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52 | (1) |
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4.2 Had Neandertals Reached This Cognitive Level? |
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53 | (1) |
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5 Patterns of the Evolution of the Brain |
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54 | (1) |
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55 | (1) |
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7 Aesthetic Appreciation as an Exaptalion |
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55 | (2) |
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57 | (4) |
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58 | (3) |
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Chapter 4 Can shared mechanisms of cultural evolution illuminate the process of creativity within the arts and the sciences |
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61 | (16) |
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65 | (2) |
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2 The Blind Variation and Selective Retention Model of Creativity |
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67 | (2) |
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3 Aims in Science and the Arts |
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69 | (2) |
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4 The Research Cycle and Its Artistic Counterpart |
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71 | (6) |
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74 | (3) |
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Chapter 5 Cross-cultural empirical aesthetics |
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77 | (30) |
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77 | (1) |
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2 From Galton to the General Objective Factor of Aesthetic Appreciation |
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78 | (3) |
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3 Proving the Universality of the General Factor of Aesthetic Appreciation |
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81 | (3) |
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4 Cross-Cultural Comparison of Expert Art Knowledge |
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84 | (6) |
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5 Cross-Cultural Studies After the New Experimental Aesthetics |
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90 | (6) |
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96 | (11) |
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98 | (1) |
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99 | (8) |
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SECTION 2 EMOTIONAL RESPONSES TO THE ARTS |
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Chapter 6 Wonder, appreciation, and the value of art |
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107 | (22) |
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1 Introduction: An Emotional Approach to Artistic Value |
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107 | (2) |
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109 | (6) |
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110 | (2) |
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112 | (1) |
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113 | (2) |
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3 Introducing Wonder (Properly) |
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115 | (2) |
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4 Wonder and Appreciation |
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117 | (5) |
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4.1 Theoretical Considerations |
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117 | (3) |
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4.2 Empirical Considerations |
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120 | (2) |
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122 | (7) |
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123 | (1) |
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124 | (4) |
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128 | (1) |
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Chapter 7 Music, dance, and other art forms: New insights into the links between hedonia (pleasure) and eudaimonia (well-being) |
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129 | (24) |
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130 | (1) |
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2 On Hedonia and Eudaimonia |
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130 | (2) |
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132 | (9) |
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3.1 Brain Systems Underlying Musical Pleasure |
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132 | (1) |
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3.2 How Does Music Lead to Pleasure? The Role of Anticipation |
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132 | (1) |
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3.3 Evidence for Statistical Learning in Music |
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133 | (1) |
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3.4 How Does Musical Anticipation Lead to Pleasure? |
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134 | (1) |
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134 | (1) |
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135 | (1) |
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3.7 How Is Musical Anticipation Generated in the Brain? Prediction Coding |
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136 | (3) |
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3.8 The Role of Dopamine Neurons in Anticipation |
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139 | (1) |
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3.9 The Potential Role of Dopamine in Musical Anticipation and Learning |
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140 | (1) |
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141 | (2) |
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143 | (1) |
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6 Orchestration in the Default-Mode Network |
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144 | (1) |
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145 | (8) |
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146 | (1) |
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146 | (7) |
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Chapter 8 Reflections on music, affect, and sociality |
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153 | (20) |
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153 | (1) |
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2 Neurobiology of Music-Evoked Emotions |
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154 | (4) |
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2.1 Emotions and Feelings |
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154 | (1) |
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2.2 Brain Regions Involved in Emotional Responses to Music |
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155 | (1) |
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2.3 Advantages of Newer Analytical Techniques |
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156 | (2) |
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2.4 Mechanisms of Music-Evoked Emotions |
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158 | (1) |
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3 Intense Musical Pleasure and Its Absence |
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158 | (5) |
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3.1 Experience of Chills and Other "Strong Experiences of Music" |
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159 | (3) |
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162 | (1) |
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163 | (2) |
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5 Music Training and Emotion Processing |
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165 | (2) |
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167 | (6) |
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167 | (6) |
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Chapter 9 The biological impact of listening to music in clinical and nonclinical settings: A systematic review |
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173 | (28) |
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174 | (2) |
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176 | (3) |
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176 | (1) |
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2.2 Study Selection and Criteria for Inclusion |
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176 | (1) |
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177 | (1) |
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2.4 Assessment of Quality |
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178 | (1) |
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179 | (10) |
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179 | (1) |
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179 | (2) |
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181 | (8) |
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189 | (5) |
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189 | (1) |
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4.2 Review Research Questions |
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190 | (1) |
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4.3 Issues for Future Research |
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191 | (2) |
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4.4 Recommendations for Research and Practice |
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193 | (1) |
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194 | (1) |
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194 | (7) |
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195 | (6) |
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Chapter 10 Behavioral and autonomic responses to real and digital reproductions of works of art |
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201 | (24) |
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Carolyn Christov-Bakargiev |
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202 | (4) |
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206 | (5) |
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206 | (1) |
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206 | (2) |
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2.3 ECG Apparatus and Recording |
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208 | (1) |
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209 | (2) |
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211 | (1) |
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211 | (4) |
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211 | (3) |
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4.2 Physiological Results |
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214 | (1) |
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215 | (10) |
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217 | (1) |
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218 | (1) |
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218 | (1) |
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218 | (3) |
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221 | (4) |
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SECTION 3 EVELOPMENT AND EXPERIENCE |
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Chapter 11 Precursors to the performing arts in infancy and early childhood |
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225 | (18) |
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1 Early Perceptual Foundations |
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226 | (1) |
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226 | (1) |
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1.2 Beyond the Newborn Period |
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226 | (1) |
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2 Early Learning and Enculturation |
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227 | (1) |
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3 Early Experience With Musical Vocalizations |
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227 | (4) |
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227 | (1) |
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228 | (1) |
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3.3 Infants' Attention to ID Singing |
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229 | (1) |
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3.4 Mood-Regulatory Consequences of ID Singing |
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229 | (1) |
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3.5 Social Consequences of ID Songs |
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230 | (1) |
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4 Early Music Production: Singing |
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231 | (1) |
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5 Early Movement to Music |
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232 | (2) |
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5.1 Social Consequences of Synchronous Movement |
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232 | (2) |
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6 Production of Musical Movements |
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234 | (1) |
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7 Implications Beyond Infancy |
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234 | (9) |
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234 | (2) |
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236 | (1) |
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236 | (1) |
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237 | (1) |
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237 | (6) |
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Chapter 12 Neurodevelopmental perspectives on dance learning: Insights from early adolescence and young adulthood |
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243 | (36) |
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1 Learning via Watching Versus Doing |
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244 | (2) |
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2 Developmental Perspectives on Sensorimotor Learning |
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246 | (1) |
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247 | (1) |
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248 | (10) |
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248 | (1) |
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248 | (1) |
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249 | (1) |
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4.4 Stimuli and Apparatus |
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249 | (1) |
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250 | (1) |
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4.6 Neuroimaging Procedure |
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251 | (2) |
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253 | (5) |
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258 | (2) |
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258 | (2) |
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260 | (1) |
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260 | (1) |
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260 | (1) |
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260 | (6) |
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260 | (5) |
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265 | (1) |
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266 | (13) |
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272 | (5) |
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277 | (2) |
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Chapter 13 Talking about childhood music: A twin study |
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279 | (12) |
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279 | (3) |
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282 | (2) |
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284 | (3) |
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287 | (4) |
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288 | (1) |
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288 | (1) |
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289 | (2) |
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Chapter 14 The influence of sensorimotor experience on the aesthetic evaluation of dance across the life span |
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291 | (28) |
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292 | (3) |
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295 | (7) |
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295 | (1) |
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2.2 Stimuli and Apparatus |
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296 | (1) |
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2.3 Behavioral Training Procedure and Analysis |
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296 | (3) |
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2.4 Neuroimaging Procedure and fMRI Data Processing |
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299 | (2) |
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301 | (1) |
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302 | (2) |
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3.1 Effect of Training on Liking Ratings Across Age Groups |
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302 | (2) |
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3.2 Effects of Training and Liking at the Brain Level |
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304 | (1) |
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304 | (15) |
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4.1 Impact of Development and Aging on Aesthetic Appreciation of Dance at the Behavioral Level |
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304 | (5) |
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4.2 Impact of Development and Aging on Aesthetic Appreciation of Dance at the Neural Level |
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309 | (1) |
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310 | (1) |
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4.4 Implications and Future Directions |
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311 | (1) |
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312 | (7) |
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Chapter 15 Characterizing the emotional response to art beyond pleasure: Correspondence between the emotional characteristics of artworks and viewers' emotional responses |
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319 | (24) |
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320 | (6) |
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1.1 The Genuine Museum Context |
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321 | (1) |
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322 | (3) |
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1.3 Art Knowledge and Expertise |
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325 | (1) |
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1.4 Self-Related Processing |
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326 | (1) |
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326 | (4) |
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328 | (2) |
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330 | (5) |
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3.1 Correspondences Between Exhibition and Visitor Experience |
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330 | (1) |
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330 | (1) |
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331 | (1) |
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3.4 Self-Related Processing |
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331 | (1) |
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332 | (3) |
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335 | (1) |
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336 | (1) |
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336 | (2) |
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338 | (5) |
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Appendix. Aesthetic Engagement Questionnaire |
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340 | (1) |
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340 | (3) |
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Chapter 16 Neuropsychopharmacological aesthetics: A theoretical consideration of pharmacological approaches to causative brain study in aesthetics and art |
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343 | (30) |
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1 Review: Models and Brain Findings in Empirical Aesthetics |
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345 | (4) |
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1.1 Aesthetic Processing and the Brain |
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347 | (2) |
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2 Context and Causation: How Do We Modulate and Assess Experience? |
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349 | (2) |
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3 Neuropsychopharmacology and Aesthetics: Compounds, Uses, and Past Studies |
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351 | (1) |
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352 | (4) |
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356 | (2) |
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6 Opioidergic and Cannabinoid Systems |
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358 | (1) |
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7 Other Compounds and Hormones Useful in Empirical Aesthetics |
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359 | (2) |
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7.1 Sex Hormones: Testosterone and Estradiol |
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360 | (1) |
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7.2 Caffeine, Alcohol, Mescaline, Etc |
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360 | (1) |
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7.3 Umami and Select Targeting of the OFC? |
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361 | (1) |
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7.4 Ayahuasca, Visual Creativity, and Brain Plasticity |
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361 | (1) |
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8 Putting It All Together: Empirical Aesthetics and Neuropsychopharmacology |
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361 | (12) |
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363 | (1) |
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363 | (9) |
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372 | (1) |
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Chapter 17 Exploring collective experience in watching dance through intersubject correlation and functional connectivity of fMRI brain activity |
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373 | (26) |
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375 | (3) |
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375 | (1) |
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376 | (1) |
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1.3 fMRI Data Acquisition and Preprocessing |
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377 | (1) |
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377 | (1) |
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378 | (1) |
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2.1 General Linear Model Analysis of Recognition Performance |
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378 | (1) |
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378 | (1) |
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379 | (1) |
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379 | (12) |
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3.1 Results of GLM Analysis of Recognition Task |
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379 | (1) |
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380 | (7) |
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3.3 Results of Network Analysis |
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387 | (4) |
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391 | (8) |
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393 | (1) |
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393 | (6) |
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Chapter 18 The impact of visual art and emotional sounds in specific musical anhedonia |
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399 | (18) |
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Antoni Rodriguez-Fornells |
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400 | (2) |
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402 | (3) |
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402 | (1) |
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2.2 Emotional Sounds Task |
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403 | (2) |
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405 | (2) |
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407 | (10) |
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407 | (1) |
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408 | (1) |
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408 | (1) |
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4.4 Emotional Sounds Task |
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409 | (1) |
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4.5 Skin Conductance Response |
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409 | (1) |
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410 | (1) |
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410 | (7) |
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SECTION 5 NEW PERSPECTIVES |
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Chapter 19 Art, energy, and the brain |
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417 | (20) |
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418 | (2) |
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2 A Proposed Investigatory Approach |
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420 | (1) |
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421 | (1) |
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4 Energy in Art and Aesthetics |
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422 | (3) |
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5 Energy in Philosophical and Psychological Aesthetics |
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425 | (1) |
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6 Energy in Psychology, Neurobiology, and Neuroscience |
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426 | (3) |
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7 Energy in the Aesthetics of Art and Neuroscience |
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429 | (8) |
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431 | (1) |
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432 | (5) |
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Chapter 20 Seeking salience in engaging art: A short story about attention, artistic value, and neuroscience |
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437 | (18) |
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1 The Puzzle of Locating Art |
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440 | (3) |
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443 | (2) |
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445 | (1) |
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4 Locating Art in Neuroscience |
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446 | (2) |
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5 Locating Artworks in Attention |
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448 | (2) |
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6 Artistic Value, Aesthetic Value, and Engaging Artworks |
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450 | (1) |
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451 | (4) |
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452 | (1) |
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453 | (2) |
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Chapter 21 Relating movements in aesthetic spaces: Immersing, distancing, and remembering |
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455 | (16) |
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455 | (2) |
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2 Immersing Through Embodied Simulation |
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457 | (3) |
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3 Distancing Through Associative Processing |
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460 | (3) |
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4 Remembering Through Adaptive Processes of Constructive Memory |
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463 | (2) |
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465 | (6) |
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466 | (1) |
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466 | (3) |
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469 | (2) |
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Chapter 22 On the moral import of the arts: The case of music |
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471 | |
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472 | (3) |
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2 Uses and Functions of Music |
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475 | (1) |
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3 Music in the Nazi Concentration Camps |
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476 | (2) |
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4 The Expressive Power of Music |
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478 | (3) |
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5 Conclusion: Some Questions Research |
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481 | |
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481 | (1) |
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481 | |