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E-raamat: Arts and The Brain: Psychology and Physiology Beyond Pleasure

Volume editor (Full Professor, University of the Balearic Islands, Spain), Volume editor (Postdoctoral Fellow, University of London, UK)
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  • Sari: Progress in Brain Research
  • Ilmumisaeg: 17-May-2018
  • Kirjastus: Academic Press Inc
  • Keel: eng
  • ISBN-13: 9780128139820
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  • Formaat: PDF+DRM
  • Sari: Progress in Brain Research
  • Ilmumisaeg: 17-May-2018
  • Kirjastus: Academic Press Inc
  • Keel: eng
  • ISBN-13: 9780128139820

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The Arts and the Brain: Psychology and Physiology beyond Pleasure, Volume 237, combines the work of an excellent group of experts who explain evidence on the neural and biobehavioral science of the arts. Topics covered include the emergence of early art and the evolution of human culture, the interaction between cultural and biological evolutionary processes in generating artistic creation, the nature of the aesthetic experience of art, the arts as a multisensory experience, new insights from the neuroscience of dance, a systematic review of the biological impact of music, and more.

  • Builds bridges and makes new connections between neuroscientists, psychologists and the arts world
  • Unravels the neural, neuroendocrine, physiological, hormonal and evolutionary dimensions of the arts
  • Contains chapters from true authorities in the field
Contributors v
Preface xxiii
Introduction xxvii
SECTION 1 EVOLUTION OF ART AND BRAIN
Chapter 1 Bioaesthetics: The evolution of aesthetic cognition in humans and other animals
3(22)
Gesche Westphal-Fitch
W. Tecumseh Fitch
1 Introduction
3(3)
2 Animal Aesthetics: Prum's Extension of Darwin
6(1)
3 Implications of Prum's Coevolutionary Perspective
7(3)
4 Beyond the Coevolutionary Model
10(3)
5 The Emergence of Cultural Evolution in Human Aesthetics
13(2)
6 The Artistic Stance
15(2)
7 Animal Artists
17(8)
Acknowledgments
20(1)
References
20(5)
Chapter 2 Culture and art: Importance of art practice, not aesthetics, to early human culture
25(16)
Dahlia W. Zaidel
1 Introduction
25(1)
2 What Makes Art, Art
26(1)
3 Brain and Value of Symbolic Cognition
27(1)
4 Early Humans and Culture: Background
28(1)
5 Culture and Art: Archaeological Findings and Early Humans
29(1)
6 Culture and the Earliest Nonmaterial Arts: From Utilitarian Application to Symbolic Practice
30(1)
7 Culture and the Earliest Nonmaterial Arts: Skills Deeply Rooted in Biology
31(1)
8 Culture and the Earliest Nonmaterial Arts: Sound Rhythms
32(1)
9 Art and Culture: Brain Evolution and Neuropsychology
33(1)
10 Biology of Culture: Gene-Culture Coevolution and the Role of Art
34(1)
11 Conclusions
34(7)
References
35(6)
Chapter 3 Art and brain coevolution
41(20)
Camilo Jose Cela-Conde
Francisco J. Ayala
1 Neuroaeslhetics
42(2)
2 Neural Networks
44(2)
2.1 Why DNM Remains Activated in Neuroaesthetics Experiments?
44(2)
3 Functional Connectivity
46(3)
4 Perceiving Beauty as a Human Trait
49(5)
4.1 When Did This Capacity Appear?
52(1)
4.2 Had Neandertals Reached This Cognitive Level?
53(1)
5 Patterns of the Evolution of the Brain
54(1)
6 Comparative Studies
55(1)
7 Aesthetic Appreciation as an Exaptalion
55(2)
8 The Question of Quale
57(4)
References
58(3)
Chapter 4 Can shared mechanisms of cultural evolution illuminate the process of creativity within the arts and the sciences
61(16)
Rory Allen
Pamela Heaton
1 Creativity in Science
65(2)
2 The Blind Variation and Selective Retention Model of Creativity
67(2)
3 Aims in Science and the Arts
69(2)
4 The Research Cycle and Its Artistic Counterpart
71(6)
References
74(3)
Chapter 5 Cross-cultural empirical aesthetics
77(30)
Jiajia Che
Xiaolei Sun
Victor Gallardo
Marcos Nadal
1 Introduction
77(1)
2 From Galton to the General Objective Factor of Aesthetic Appreciation
78(3)
3 Proving the Universality of the General Factor of Aesthetic Appreciation
81(3)
4 Cross-Cultural Comparison of Expert Art Knowledge
84(6)
5 Cross-Cultural Studies After the New Experimental Aesthetics
90(6)
6 Conclusions
96(11)
Acknowledgment
98(1)
References
99(8)
SECTION 2 EMOTIONAL RESPONSES TO THE ARTS
Chapter 6 Wonder, appreciation, and the value of art
107(22)
Joerg Fingerhut
Jesse J. Prinz
1 Introduction: An Emotional Approach to Artistic Value
107(2)
2 Some Candidates
109(6)
2.1 Beauty
110(2)
2.2 Interest
112(1)
2.3 Being Moved
113(2)
3 Introducing Wonder (Properly)
115(2)
4 Wonder and Appreciation
117(5)
4.1 Theoretical Considerations
117(3)
4.2 Empirical Considerations
120(2)
5 Future Directions
122(7)
Acknowledgments
123(1)
References
124(4)
Further Reading
128(1)
Chapter 7 Music, dance, and other art forms: New insights into the links between hedonia (pleasure) and eudaimonia (well-being)
129(24)
Eloise A. Stark
Peter Vuust
Morten L. Kringelbach
1 Introduction
130(1)
2 On Hedonia and Eudaimonia
130(2)
3 On Music
132(9)
3.1 Brain Systems Underlying Musical Pleasure
132(1)
3.2 How Does Music Lead to Pleasure? The Role of Anticipation
132(1)
3.3 Evidence for Statistical Learning in Music
133(1)
3.4 How Does Musical Anticipation Lead to Pleasure?
134(1)
3.5 Failed Anticipation
134(1)
3.6 Chills
135(1)
3.7 How Is Musical Anticipation Generated in the Brain? Prediction Coding
136(3)
3.8 The Role of Dopamine Neurons in Anticipation
139(1)
3.9 The Potential Role of Dopamine in Musical Anticipation and Learning
140(1)
4 On Dance
141(2)
5 Poetry
143(1)
6 Orchestration in the Default-Mode Network
144(1)
7 Conclusions
145(8)
Acknowledgments
146(1)
References
146(7)
Chapter 8 Reflections on music, affect, and sociality
153(20)
Matthew Sachs
Assal Habibi
Hanna Damasio
1 Introduction
153(1)
2 Neurobiology of Music-Evoked Emotions
154(4)
2.1 Emotions and Feelings
154(1)
2.2 Brain Regions Involved in Emotional Responses to Music
155(1)
2.3 Advantages of Newer Analytical Techniques
156(2)
2.4 Mechanisms of Music-Evoked Emotions
158(1)
3 Intense Musical Pleasure and Its Absence
158(5)
3.1 Experience of Chills and Other "Strong Experiences of Music"
159(3)
3.2 Music Anhedonia
162(1)
4 The Case of Sad Music
163(2)
5 Music Training and Emotion Processing
165(2)
6 Concluding Remarks
167(6)
References
167(6)
Chapter 9 The biological impact of listening to music in clinical and nonclinical settings: A systematic review
173(28)
Saoirse Finn
Daisy Fancourt
1 Introduction
174(2)
2 Methods
176(3)
2.1 Search Strategy
176(1)
2.2 Study Selection and Criteria for Inclusion
176(1)
2.3 Data Extraction
177(1)
2.4 Assessment of Quality
178(1)
3 Results
179(10)
3.1 Descriptives
179(1)
3.2 Quality Assessment
179(2)
3.3 Biomarker Results
181(8)
4 Discussion
189(5)
4.1 Summary of Findings
189(1)
4.2 Review Research Questions
190(1)
4.3 Issues for Future Research
191(2)
4.4 Recommendations for Research and Practice
193(1)
4.5 Limitations
194(1)
5 Conclusion
194(7)
References
195(6)
Chapter 10 Behavioral and autonomic responses to real and digital reproductions of works of art
201(24)
Francesca Siri
Francesca Ferroni
Martina Ardizzi
Anna Kolesnikova
Marcella Beccaria
Barbara Rocci
Carolyn Christov-Bakargiev
Vittorio Gallese
1 Introduction
202(4)
2 Materials and Methods
206(5)
2.1 Participants
206(1)
2.2 Stimuli
206(2)
2.3 ECG Apparatus and Recording
208(1)
2.4 Procedure
209(2)
3 Statistical Analyses
211(1)
4 Results
211(4)
4.1 Behavioral Results
211(3)
4.2 Physiological Results
214(1)
5 Discussion
215(10)
Acknowledgments
217(1)
Conflict of Interest
218(1)
Funding
218(1)
References
218(3)
Further Reading
221(4)
SECTION 3 EVELOPMENT AND EXPERIENCE
Chapter 11 Precursors to the performing arts in infancy and early childhood
225(18)
Sandra E. Trehub
Laura K. Cirelli
1 Early Perceptual Foundations
226(1)
1.1 The Newborn Period
226(1)
1.2 Beyond the Newborn Period
226(1)
2 Early Learning and Enculturation
227(1)
3 Early Experience With Musical Vocalizations
227(4)
3.1 Maternal Speech
227(1)
3.2 Maternal Singing
228(1)
3.3 Infants' Attention to ID Singing
229(1)
3.4 Mood-Regulatory Consequences of ID Singing
229(1)
3.5 Social Consequences of ID Songs
230(1)
4 Early Music Production: Singing
231(1)
5 Early Movement to Music
232(2)
5.1 Social Consequences of Synchronous Movement
232(2)
6 Production of Musical Movements
234(1)
7 Implications Beyond Infancy
234(9)
7.1 Mood Regulation
234(2)
7.2 Social Regulation
236(1)
7.3 Social Identity
236(1)
7.4 Well-being
237(1)
References
237(6)
Chapter 12 Neurodevelopmental perspectives on dance learning: Insights from early adolescence and young adulthood
243(36)
Dilini K. Sumanapala
Jon Walbrin
Louise P. Kirsch
Emily S. Cross
1 Learning via Watching Versus Doing
244(2)
2 Developmental Perspectives on Sensorimotor Learning
246(1)
3 This Study
247(1)
4 Method
248(10)
4.1 Participants
248(1)
4.2 Young Adults
248(1)
4.3 Adolescents
249(1)
4.4 Stimuli and Apparatus
249(1)
4.5 Behavioral Training
250(1)
4.6 Neuroimaging Procedure
251(2)
4.7 fMRI Data Analysis
253(5)
5 Results
258(2)
5.1 Training Performance
258(2)
5.2 Test Day Performance
260(1)
6 Neuroimaging Results
260(1)
6.1 Univariate Analyses
260(1)
7 Multivariate Results
260(6)
7.1 Within Age Groups
260(5)
7.2 Between Age Groups
265(1)
8 Discussion
266(13)
References
272(5)
Further Reading
277(2)
Chapter 13 Talking about childhood music: A twin study
279(12)
Tores Theorell
Laszlo Harmat
Helene Eriksson
Fredrik Ullen
1 Introduction
279(3)
2 Methods
282(2)
3 Results
284(3)
4 Discussion
287(4)
Acknowledgments
288(1)
References
288(1)
Further Reading
289(2)
Chapter 14 The influence of sensorimotor experience on the aesthetic evaluation of dance across the life span
291(28)
Louise P. Kirsch
Emily S. Cross
1 Introduction
292(3)
2 Methods
295(7)
2.1 Participants
295(1)
2.2 Stimuli and Apparatus
296(1)
2.3 Behavioral Training Procedure and Analysis
296(3)
2.4 Neuroimaging Procedure and fMRI Data Processing
299(2)
2.5 fMRI Data Analysis
301(1)
3 Results
302(2)
3.1 Effect of Training on Liking Ratings Across Age Groups
302(2)
3.2 Effects of Training and Liking at the Brain Level
304(1)
4 Discussion
304(15)
4.1 Impact of Development and Aging on Aesthetic Appreciation of Dance at the Behavioral Level
304(5)
4.2 Impact of Development and Aging on Aesthetic Appreciation of Dance at the Neural Level
309(1)
4.3 Limitations
310(1)
4.4 Implications and Future Directions
311(1)
References
312(7)
SECTION 4 NEW METHODS
Chapter 15 Characterizing the emotional response to art beyond pleasure: Correspondence between the emotional characteristics of artworks and viewers' emotional responses
319(24)
Pablo P. L. Tinio
Andreas Gartus
1 Introduction
320(6)
1.1 The Genuine Museum Context
321(1)
1.2 Aesthetic Emotions
322(3)
1.3 Art Knowledge and Expertise
325(1)
1.4 Self-Related Processing
326(1)
2 Study 1
326(4)
2.1 Method
328(2)
3 Results and Discussion
330(5)
3.1 Correspondences Between Exhibition and Visitor Experience
330(1)
3.2 Aesthetic Fluency
330(1)
3.3 Time Spent on Art
331(1)
3.4 Self-Related Processing
331(1)
3.5 Label Reading
332(3)
4 Study 2
335(1)
4.1 Method
336(1)
5 Results and Discussion
336(2)
6 General Discussion
338(5)
Appendix. Aesthetic Engagement Questionnaire
340(1)
References
340(3)
Chapter 16 Neuropsychopharmacological aesthetics: A theoretical consideration of pharmacological approaches to causative brain study in aesthetics and art
343(30)
Blanca Spee
Tomohiro Ishizu
Helmut Leder
Jan Mikuni
Hideaki Kawabata
Matthew Peiowski
1 Review: Models and Brain Findings in Empirical Aesthetics
345(4)
1.1 Aesthetic Processing and the Brain
347(2)
2 Context and Causation: How Do We Modulate and Assess Experience?
349(2)
3 Neuropsychopharmacology and Aesthetics: Compounds, Uses, and Past Studies
351(1)
4 Dopaminergic System
352(4)
5 Serotonergic System
356(2)
6 Opioidergic and Cannabinoid Systems
358(1)
7 Other Compounds and Hormones Useful in Empirical Aesthetics
359(2)
7.1 Sex Hormones: Testosterone and Estradiol
360(1)
7.2 Caffeine, Alcohol, Mescaline, Etc
360(1)
7.3 Umami and Select Targeting of the OFC?
361(1)
7.4 Ayahuasca, Visual Creativity, and Brain Plasticity
361(1)
8 Putting It All Together: Empirical Aesthetics and Neuropsychopharmacology
361(12)
Acknowledgments
363(1)
References
363(9)
Further Reading
372(1)
Chapter 17 Exploring collective experience in watching dance through intersubject correlation and functional connectivity of fMRI brain activity
373(26)
Frank E. Pollick
Staci Vicary
Katie Noble
Naree Kim
Seonhee Jang
Catherine J. Stevens
1 Method
375(3)
1.1 Participants
375(1)
1.2 Stimuli
376(1)
1.3 fMRI Data Acquisition and Preprocessing
377(1)
1.4 Behavioral Data
377(1)
2 Analysis
378(1)
2.1 General Linear Model Analysis of Recognition Performance
378(1)
2.2 ISC Analysis
378(1)
2.3 Network Analysis
379(1)
3 Results
379(12)
3.1 Results of GLM Analysis of Recognition Task
379(1)
3.2 Results of ISC
380(7)
3.3 Results of Network Analysis
387(4)
4 Discussion
391(8)
Acknowledgments
393(1)
References
393(6)
Chapter 18 The impact of visual art and emotional sounds in specific musical anhedonia
399(18)
Ernest Mas-Herrero
Mikko Karhulahti
Josep Marco-Pallares
Robert J. Zatorre
Antoni Rodriguez-Fornells
1 Introduction
400(2)
2 Results
402(3)
2.1 Aesthetic Task
402(1)
2.2 Emotional Sounds Task
403(2)
3 Discussion
405(2)
4 Materials and Methods
407(10)
4.1 Participants
407(1)
4.2 Aesthetic Task
408(1)
4.3 Aesthetic Stimuli
408(1)
4.4 Emotional Sounds Task
409(1)
4.5 Skin Conductance Response
409(1)
4.6 Data Analysis
410(1)
Acknowledgments
410(7)
SECTION 5 NEW PERSPECTIVES
Chapter 19 Art, energy, and the brain
417(20)
Robert Pepperell
1 Introduction
418(2)
2 A Proposed Investigatory Approach
420(1)
3 Energy
421(1)
4 Energy in Art and Aesthetics
422(3)
5 Energy in Philosophical and Psychological Aesthetics
425(1)
6 Energy in Psychology, Neurobiology, and Neuroscience
426(3)
7 Energy in the Aesthetics of Art and Neuroscience
429(8)
Acknowledgments
431(1)
References
432(5)
Chapter 20 Seeking salience in engaging art: A short story about attention, artistic value, and neuroscience
437(18)
William P. Seeley
1 The Puzzle of Locating Art
440(3)
2 Seeking Salience
443(2)
3 Artworks and Jokes
445(1)
4 Locating Art in Neuroscience
446(2)
5 Locating Artworks in Attention
448(2)
6 Artistic Value, Aesthetic Value, and Engaging Artworks
450(1)
7 Conclusion
451(4)
References
452(1)
Further Reading
453(2)
Chapter 21 Relating movements in aesthetic spaces: Immersing, distancing, and remembering
455(16)
Sophie De Beukelaer
Ruben Azevedo
Manos Tsakiris
1 Introduction
455(2)
2 Immersing Through Embodied Simulation
457(3)
3 Distancing Through Associative Processing
460(3)
4 Remembering Through Adaptive Processes of Constructive Memory
463(2)
5 Conclusion
465(6)
Acknowledgments
466(1)
References
466(3)
Further Reading
469(2)
Chapter 22 On the moral import of the arts: The case of music
471
Antoni Gomila
Julia F. Christensen
1 Music and Morality
472(3)
2 Uses and Functions of Music
475(1)
3 Music in the Nazi Concentration Camps
476(2)
4 The Expressive Power of Music
478(3)
5 Conclusion: Some Questions Research
481
Acknowledgments
481(1)
References
481
Dr. Julia F. Christensen is a postdoctoral Fellow of the B.I.A.S. project (NOMIS foundation) at the Warburg Institute, University of London, and a Newton International Research Fellow Alumni (British Academy) in the Cognitive Neuroscience Research Unit (CNRU) and the Autism Research Group (ARG) at the Psychology Department (City, University of London). She is also an honorary member of the Institute of Cognitive Neuroscience (University College London; UCL). Her current work explores the neural underpinnings of emotional expertise in dance. In this approach she works with dancers and other artists as participants to uncover the neurocognitive mechanisms that make these groups of people so highly emotionally sensitive. She has a strong interest in dance herself as she trained as a professional dancer before becoming a neuroscientist. Her PhD work with Professor Camilo Cela-Conde (University of the Balearic Islands; UIB) and Dr. Marcos Nadal (University of Vienna) investigated the affective mechanisms involved in watching dance and how that affective experience is modulated by relevant expertise (e.g., in dance) (title ”Dance moves: Affective responses to expressive body movement”). Dr. Christensen has also worked in the field of Neuroscience of morality under the supervision of Professor Antoni Gomila (UIB), and was a postdoctoral researcher at the Institute of Cognitive Neuroscience with Professor Patrick Haggard (UCL), leading a series of studies investigating how agents sense of agency over their actions is modulated by the emotional context in which an action occurs. Dr. Christensen uses behavioural, psychophysiological and neuroimaging methods. Dr. Christensen uses behavioural, psychophysiological and neuroimaging methods and has published a series of articles in international peer reviewed journals on the topics of neuroscience and psychology of dance and the arts, morality, empathy, ethics and autism. She is author of the German popular science book about dance Tanzen ist die beste Medizin [ Dance is the best medicine], to appear in May 2018. Professor Antoni Gomia is Full Professor of Psychology (Thinking and Language), at the Psychology Departament of the University of the Balearic Islands, Spain. His background is in Philosophy and his interests have centred on issues at the no mans land” of the frontiers between philosophy of mind, psychology and cognitive science: representation and meaning, expression and intersubjectivity, intentional explanation and rationality, also taking an evolutionary perspective into account in order to make sense of what makes us human. He co-edited a Handbook of Cognitive Science: an embodied approach (Elsevier, 2009), with Paco Calvo, and is the author of Verbal Minds: Language and the Architecture of the Mind (Elsevier, 2013). His current interest centers around moral psychology and the evolution of morality.