Abstract
From beauty to knowledge: a new frame for the neuropsychological approach to aesthetics.
Highlights
Over the last decade the psychological and neurobiological approach to aesthetics has collected relevant data about the experience of art, aesthetic products, natural phenomena, and non-artistic objects—even if these data are somewhat divergent depending on the many differences in the stimuli, procedures, techniques, instructions, and tasks that are used (Chatterjee, 2011; Nadal and Skov, 2013)
Given the strong historical association of the concept of beauty with art and aesthetics, the first applications of neuroimaging to visual aesthetic experience involved a privileged position for perceptual beauty (Cela-Conde et al, 2004; Kawabata and Zeki, 2004; Vartanian and Goel, 2004) but see (Jacobsen, 2010; Ishizu and Zeki, 2013; Chatterjee, 2014)
The neuropsychological approach to aesthetics has quickly gone beyond perceptual beauty and simple preference (Chatterjee and Vartanian, 2014)
Summary
Over the last decade the psychological and neurobiological approach to aesthetics has collected relevant data about the experience of art, aesthetic products, natural phenomena, and non-artistic objects—even if these data are somewhat divergent depending on the many differences in the stimuli, procedures, techniques, instructions, and tasks that are used (Chatterjee, 2011; Nadal and Skov, 2013). First and foremost, this means that differences in processing experience influence aesthetic perception and evaluation—for instance, see the various studies concerning the effect of fluency on aesthetic appreciation (Reber et al, 2004).
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