Search Results (36)

This paper argues that art and aesthetic engagement are not cultural luxuries but structural necessities for any cognitive system operating in post-scarcity information environments—a claim derived from a unified structural theory of complex systems grounded in the persistence principle. The argument proceeds in three stages. First, drawing on the formal theory of structural viability, the paper demonstrates that when a cognitive agent’s basic needs are satisfied and information is abundant, the agent’s viability set expands until utilitarian goal structures degenerate. Non-utilitarian goal-setting—creative activity pursued beyond direct utility—remains the only structurally available mode of purposeful agency. Second, the paper provides a neuroaesthetic grounding for this claim: predictive processing, derived as the unique optimal cognitive architecture under physical constraints, entails that creative engagement generates prediction errors whose resolution activates reward pathways shared with reproductive behavior—both being instances of generating new structure. Active perception of art constitutes co-creation through the same mechanism. Third, the paper addresses the role of artificial intelligence: AI accelerates the arrival of post-scarcity conditions and serves as an instrument of creative engagement, but passive consumption of AI-generated content without the agent’s own goal-setting fails to fulfill the structural function of art and deepens the very condition it could remedy. The framework contributes to neuroaesthetics by providing a substrate-independent formal foundation for understanding why cognitive systems require art—not merely enjoy it—and why this requirement intensifies as post-scarcity conditions approach. Full article

Background/Objectives: Facilities for persons with Alzheimer disease need to be adapted for them in terms of architecture and interior and exterior design, where the introduction of an artistic dimension is recommended. This raises the question of exploring the aesthetic preferences of the people concerned in order to optimise the design. We assessed whether individuals with Alzheimer’s disease can make aesthetic judgements, and if so, their nature and how stable they were over time. Methods: We compared the aesthetic preferences of 23 persons with Alzheimer’s disease matched to 23 controls. Preferences were collected using a Q-PEG questionnaire, which presents photographs of various artworks: paintings, sculptures, functional objects, and representation of living things: human, animal, and landscape, in various styles: figurative, stylized, abstract. This tool was created specifically by our team for this research; this is the first exploratory publication to use it. Results: We confirm the feasibility of collecting aesthetic judgements from individuals living with Alzheimer’s disease using the Q-PEG tool. The aesthetic judgements of both participant groups proved to be stable over time. Furthermore, the aesthetic judgements of individuals with Alzheimer’s disease did not differ from those of the controls, regardless of the style or type of artwork. These preferences are independent of the various cognitive functions assessed. Hypotheses about the Alzheimer-resistant nature of the cognitive register of aesthetic preferences are discussed. Conclusions: As they can express their artistic preferences, individuals living with Alzheimer’s disease should be consulted. These results provide insights for the design of facilities and therapeutic gardens based on evidence-based design (EBD) criteria. The integration of an artistic dimension in line with these preferences and in compliance with the general recommendations makes it possible to create adapted, specific spaces that are appreciated by all. Full article

Pareidolia is often framed as a viewer-side illusion: a tendency to perceive meaningful forms—especially faces—in ambiguous inputs. This Concept Paper argues that pareidolia can also be deliberately engineered and therefore provides a tractable entry point into the neurophysiology of visual creativity. We propose a unifying construct in which engineered pareidolia functions as externally scaffolded mental imagery: minimal visual constraints recruit internally generated templates and top-down inference while remaining anchored to sensory input. To strengthen theoretical rigor, we define necessary and sufficient features that distinguish this construct from adjacent accounts (scaffolded cognition; perceptual scaffolding; bistable perception). Using Arcimboldo’s composite portraits and Dürer’s embedded face in View of the Arco Valley, plus a canonical Renaissance example (Leonardo’s Bacchus/Saint John the Baptist), we outline distinct “design regimes” that modulate cue validity, attentional release, and interpretive switching. We then connect engineered pareidolia to creativity research by linking pareidolia design and detection to measurable constructs in divergent/creative perception, including but not limited to Torrance-style domains, and we propose feasible behavioral and neurophysiological paradigms that control for artistic skill and clinical status. Finally, we distinguish benign pareidolia from hallucination, discuss clinical resonance in dementia with Lewy bodies where pareidolia can be quantified, and outline an empirically testable research program that reframes pareidolia as a bridge between imagination, perception, and creativity. Full article

Tourism is increasingly shaped by visual experiences of place mediated through television series and audiovisual fiction. Although film-induced tourism research has widely examined how media representations influence destination image and tourist responses, limited attention has been given to the perceptual and cognitive processes through which mediated landscapes are visually attended to and mentally organised, particularly from a neuroaesthetic perspective focused on early perceptual and attentional mechanisms in fictional contexts where tourism is not explicit. Addressing this gap, this study adopts a process-oriented neuroaesthetic approach to examine how landscapes in the television series Killing Eve are visually attended to and cognitively processed as destination imagery. An exploratory mixed-methods design combined qualitative content analysis of free recall responses (n = 260) with simulated visual attention modelling based on low-level visual features. The findings reveal a two-stage process of mediated landscape experience: visual attention initially guided by perceptual salience, followed by the selective cognitive stabilisation of certain elements as destination imagery through recall, imagination and narrative association. The study demonstrates that mediated landscapes are not processed as holistic destination images, but as selectively organised and emotionally inflected elements emerging from the interaction between visual attention and imagery processes. Full article

The Neuroaesthetics-informed approach to the urban environment examines how the sensory properties of buildings, streets, and public spaces are processed by the human brain, and how this processing affects health, well-being, and behavior. Drawing on neuroscience, psychology, and architectural research, it examines how attributes such as organized visual complexity, fractal structure, materiality, color, light, scale, and spatial configuration shape perceptual fluency, stress regulation, affective states, cognition, and even influence social interaction in cities. The literature discussed was identified through targeted searches of peer-reviewed journals in neuroscience, psychology, architecture, urban design and public health, with emphasis on studies examining perceptual processing, affective responses, psychophysiological indicators, and health-related proxies in relation to environmental form, as opposed to general environmental health work. Practical applications are discussed. Full article

Numerous attempts to define art have been made from antiquity to the present, yet historical overviews often adopt a Eurocentric (and American-centric) perspective focused mainly on culturally dependent aesthetic approaches. As a universal social and cultural phenomenon, art resists center-periphery models. The cognitive turn reshaped art theory by reconsidering art as a cognitive dimension of humanity. Art has no limits on who can create or enjoy it. The ability to use and understand metaphor, for instance, demonstrates everyday human artistic cognition. The analysis relies on both field research (case studies) and academic literature; it argues for a revised theoretical frame for defining art and organizes it into a dynamic model of three main vectors: (1) art as communication (including art as agency); (2) art as creation; and (3) art as experience (involving both audience and artist). The model can incorporate the study of emotions into the third criterion while remaining open to both materialist and non-materialist approaches. Rather than offering a new definition, the study integrates the perspective of cognitive anthropology, cognitive semantics, and the anthropology of art in order to broaden understanding. Instead of searching for special aesthetic or economic values, these three dimensions of art appear more universal. A pragmatic analysis of how art “works” in individuals and groups provides a useful model for cognitive sciences. Instead of binary codes, it is a vectorial model, a 3D space for expressing family resemblance, since there is no common denominator (prototype) for all kinds of art. Full article

This paper identifies the various influences of Western aesthetic preferences of landscapes in answer to the question, why do humans find landscapes attractive? A four-level model of influences is proposed, based on the innate or evolutionary influences applicable to all humanity, through the cultural and the societal to the individual. At each level there are a number of contributory factors at play, and these are described. The paper is confined to Western perspectives of landscape aesthetics. At the innate level are four landscape theories that postulate the reasons why humans find landscapes attractive. Also at the innate level are the philosophical underpinnings of human delight in landscapes and the Gestalt influence on preferences. The cultural influence comprises the legend of Arcadia and the Golden Age; of classicism, teleology, and landscape painting; and the emergence of the sublime, the beautiful, the picturesque, and Romanticism. At the societal level are the artistic pursuits of landscape painting and the development of parks and gardens, which reflected the perfect Italianate landscape. Also at this level are Western society’s attitude to mountains, which changed radically in the seventeenth century. Individuals are influenced by psychoanalytical pressures on the subconscious, by unconscious experiences in infancy such as a human’s preference for water, and by the influence of neuroaesthetics, which describes how the areas of the brain respond to aesthetic objects. Finally, research of landscape preferences over 50 years provides insights on the influence of landscape components, reflecting the influence of the innate, cultural, and societal factors. The combined realms of influence of each of these factors are hypothesized to explain human responses to landscapes. Full article

Background: Serious videogames have already demonstrated their positive impact on rehabilitation and of particular interest is the virtual reality (VR) technology. This immersive technology has been used in this study to create a neuroaesthetic experience based on the Michelangelo effect for the rehabilitation of patients with spinal cord injury. The aim of this study was to test the usability of a system for virtual art therapy and its capacity to assess patients’ deficits performances. Methods: A VR headset was worn by the participants who experienced a painting simulation of famous artworks (artistic stimuli) against a coloring canvas (non-artistic stimuli). The trajectories of the hand were studied to obtain different kinematic and spectral parameters to evaluate the user performances. A total of 13 healthy subjects and 13 patients with spinal cord injury participated in this study. Results: Significative differences were obtained for most of the parameters between the two groups, except for the normalized jerk and energy of the spectrum. Analysis in the frequency domain showed that both groups preferred horizontal movements for painting the canvas. The NASA and USEQ scores reported a comfortable and user-friendly system according to the patients’ point of view. Conclusions: The system can be a usable tool, the rehabilitative efficacy of which should be tested in patients with spinal cord injury. The kinematic and spectral parameters would allow for the evaluation of the performances alongside the clinical scales, distinguish pathological and physiological performances. Full article

This paper examines the transformative potential of generative artificial intelligence (AI) and neuroaesthetic methodologies in archaeology, museum collections and art history. It introduces the concept of the AI multiverse, which allows archaeologists and social scientists to construct multiple plausible reconstructions of ancient environments and cultural practices, addressing the inherent uncertainties in archaeological data. Generative AI tools create simulations and visualizations that redefine traditional archaeological frameworks by incorporating multivocal and dynamic interpretations. The study also integrates visual thinking strategies (VTSs), eye tracking and saliency map analyses to investigate how structured observation enhances cognitive and emotional engagement with visual artifacts. A case study involving the painting My Mother, She Fell From the Sky highlights the impact of VTS on guiding viewers’ gaze and improving interpretive depth, as evidenced by heatmaps and saliency distribution. Full article

Walking, a basic physical movement of the human body, is a resource for observers in forming interpersonal impressions. We have previously investigated the expression and perception of the attractiveness of female gaits. In this paper, drawing on our previous research, additional analysis, and reviewing previous studies, we seek to deepen our understanding of the function of gait attractiveness. First, we review previous research on gait as nonverbal information. Then, we show that fashion models’ gaits reflect sociocultural genderlessness, while nonmodels express reproductive-related biological attractiveness. Next, we discuss the functions of gait attractiveness based on statistical models that link gait parameters and attractiveness scores. Finally, we focus on observers’ perception of attractiveness, constructing a model of the visual information processing with respect to gait attractiveness. Overall, our results suggest that there are not only biological but also sociocultural criteria for gait attractiveness, and men and women place greater importance on the former and latter criteria, respectively, when assessing female gait attractiveness. This paper forms a major step forward in neuroaesthetics to understand the beauty of the human body and the generation of biological motions. Full article

The goal of neuroaesthetic research is to understand the neural mechanisms underpinning the perception and appreciation of art. The human brain has the remarkable ability to rapidly recognize different artistic styles. Using functional connectivity, this study investigates whether there are differences in connectivity networks formed during the processing of abstract and figurative paintings. Eighty paintings (forty abstract and forty figurative) were presented in a random order for eight seconds to each of the 29 participants. High-density EEG recordings were taken, from which functional connectivity networks were extracted at several time points (−300, 100, 300 and 500 ms). The debiased weighted phase lag index (dwPLI) was used to extract the connectivity networks for the abstract and figurative conditions across multiple frequency bands. Significant connectivity differences were detected for both conditions at each time point and in each frequency band: delta (p < 0.0273), theta (p < 0.0292), alpha (p < 0.0299), beta (p < 0.0275) and gamma (p < 0.0266). The topology of the connectivity networks also varied over time and frequency, indicating the multi-scale dynamics of art style perception. The method used in this study has the ability to identify not only brain regions but their interaction (communication) patterns and their dynamics at distinct time points, in contrast to average ERP waveforms and potential distributions. Our findings suggest that the early perception stage of visual art involves complex, distributed networks that vary with the style of the artwork. The difference between the abstract and figurative connectivity network patterns indicates the difference between the underlying style-related perceptual and cognitive processes. Full article

Neuroaesthetics is a relatively young field that connects neuroscience with empirical aesthetics and originates in the neurological theory of aesthetic experience. It investigates brain structures and activity during the phenomena of artistic perception and production and, at the same time, attempts to understand the influence of neurological pathologies on these mechanisms. For each participant (six subjects with mild cognitive decline and ten controls), electroencephalography (EEG) and functional near-infrared spectroscopy (fNIRS) data were acquired thanks to a wearable EEG–fNIRS system during the execution of a P300 task. Full article

Eye-tracking is a biometrics technique that has started to find applications in research related to our interaction with the built environment. Depending on the focus of a given study, the collection of valence and arousal measurements can also be conducted to acquire emotional, cognitive, and behavioral insights and correlate them with eye-tracking data. These measurements can give architects and designers a basis for data-driven decision-making throughout the design process. In instances involving existing structures, biometric data can also be utilized for post-occupancy analysis. This entry will discuss eye-tracking and eye-tracking simulation in the context of our current understanding of the importance of our interaction with the built environment for both physical and mental well-being. Full article

Background: Symmetry is a special kind of balance. This study aims to systematically explore and apply the role of balanced composition in aesthetic judgments by focusing on balanced composition features and employing research methods from computational aesthetics and neuroaesthetics. Methods: First, experimental materials were classified by quantifying balanced composition using several indices, including symmetry, center of gravity, and negative space. An EEG experiment was conducted with 18 participants, who were asked to respond dichotomously to the same stimuli under different judgment tasks (balance and aesthetics), with both behavioral and EEG data being recorded and analyzed. Subsequently, participants’ data were combined with balanced composition indices to construct and analyze various SVM classification models. Results: Participants largely used balanced composition as a criterion for aesthetic evaluation. ERP data indicated that from 300–500 ms post-stimulus, brain activation was more significant in the aesthetic task, with unbeautiful and imbalanced stimuli eliciting larger frontal negative waves and occipital positive waves. From 600–1000 ms, beautiful stimuli caused smaller negative waves in the PZ channel. The results of the SVM models indicated that the model incorporating aesthetic subject data (ACC = 0.9989) outperforms the model using only balanced composition parameters of the aesthetic object (ACC = 0.7074). Conclusions: Balanced composition is a crucial indicator in aesthetics, with similar early processing stages in both balance and aesthetic judgments. Multi-modal data models validated the advantage of including human factors in aesthetic evaluation systems. This interdisciplinary approach not only enhances our understanding of the cognitive and emotional processes involved in aesthetic judgments but also enables the construction of more reasonable machine learning models to simulate and predict human aesthetic preferences. Full article

A visual stimulus that is divided in harmonic proportions is often judged as more pleasant than others. This is well known by artists that often used two main types of geometric harmonic patterns: symmetry and the golden ratio. Symmetry refers to the property of an object to have two similar halves, whereas the golden ratio consists of dividing an object in a major and a minor part so that their proportion is the same as that between the whole object and its major part. Here we investigated looking behaviour and explicit preferences for different regularities including symmetry and golden ratio. We selected four Mark Rothko’s paintings, a famous abstract expressionism artist, characterized by two main areas depicted by different colours: one symmetric (ratio between areas: 50–50%), one in golden ratio (38–62%), one in an intermediate ratio (46–54%), and one in a ratio exceeding the golden ratio (32–68%). Thirty-six healthy participants (24.75 ± 3.71 years old) completed three tasks: observation task (OT), pleasantness task (PT), and harmony task (HT). Findings for explicit ratings of pleasantness and harmony were very similar and were not significantly correlated with patterns of looking behaviour. Eye Dwell Time mainly depended on stimuli orientation (p < 0.001), but for the harmony task also by ratio and their interaction. Our results showed that the visual scanning behaviour of abstract arts primarily depends on the orientation of internal components, whereas their proportion is more important for the pleasantness and harmony explicit judgments. Full article