Dynamics of brain networks in the aesthetic appreciation

Cela‐Conde, Camilo J.; García-Prieto, Juan; Ramasco, José J.; Mirasso, Claudio R.; Bajo, Ricardo; Munar, Enric; Flexas, Albert; del-Pozo, Francisco; Maestú, Fernando

doi:10.1073/pnas.1302855110

Cited by 125 publications

(124 citation statements)

References 70 publications

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“…However, the emotional arousal associated with these predictions, we think, is generated by the interactions with the striatal dopaminergic system. This framework, and others like it (124), could also be thought of more broadly as applicable to other types of aesthetic rewards: for example, some authors have suggested that visual aesthetic experiences may arise from interactions across cortical regions involved in perception and memory (125); also, Cela-Conde et al (126) emphasize synchronization across cortical fields as important for visual aesthetics.…”

Section: Putting It All Togethermentioning

confidence: 99%

From perception to pleasure: Music and its neural substrates

Zatorre

Salimpoor

2013

Proc. Natl. Acad. Sci. U.S.A.

416

297

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Music has existed in human societies since prehistory, perhaps because it allows expression and regulation of emotion and evokes pleasure. In this review, we present findings from cognitive neuroscience that bear on the question of how we get from perception of sound patterns to pleasurable responses. First, we identify some of the auditory cortical circuits that are responsible for encoding and storing tonal patterns and discuss evidence that cortical loops between auditory and frontal cortices are important for maintaining musical information in working memory and for the recognition of structural regularities in musical patterns, which then lead to expectancies. Second, we review evidence concerning the mesolimbic striatal system and its involvement in reward, motivation, and pleasure in other domains. Recent data indicate that this dopaminergic system mediates pleasure associated with music; specifically, reward value for music can be coded by activity levels in the nucleus accumbens, whose functional connectivity with auditory and frontal areas increases as a function of increasing musical reward. We propose that pleasure in music arises from interactions between cortical loops that enable predictions and expectancies to emerge from sound patterns and subcortical systems responsible for reward and valuation.cognition | functional imaging | auditory cortex S ome 40,000 years ago, a person-a musician-picked up a vulture bone that had delicately and precisely incised holes along its length and blew upon it to play a tune. We know this thanks to recent remarkable archeological finds (Fig. 1) near the Danube, where several such flutes were uncovered (1). What bears reflection here is that, for an instrument to exist in the upper Paleolithic, music must have already existed in an advanced form for many thousands of years already; else it would have been impossible to construct something as technologically advanced as a flute that plays a particular scale. We may safely infer therefore that music is among the most ancient of human cognitive traits. Musical OriginsKnowing that music has ancient origins is important in establishing it as part of our original "human mental machinery," but it does not tell us why it may have developed. The answer to this question may always remain unknown, but for insight we may turn to Darwin. One of his most well-known comments about music, from The Descent of Man, is this one: "As neither the enjoyment nor the capacity of producing musical notes are faculties of the least direct use to man in reference to his ordinary habits of life, they must be ranked among the most mysterious with which he is endowed" (2). Ten years later, in his autobiography, he reflected on and lamented his own musical anhedonia with these words: "...if I had to live my life again, I would have made a rule to read some poetry and listen to some music at least once every week; for perhaps the parts of my brain now atrophied would thus have been kept active through use. The loss of these tastes is a loss of hap...

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Section: Putting It All Togethermentioning

confidence: 99%

From perception to pleasure: Music and its neural substrates

Zatorre

Salimpoor

2013

Proc. Natl. Acad. Sci. U.S.A.

416

297

View full text Add to dashboard Cite

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“…This ongoing engagement with space differs from our engagement with art. Investigators have probed early and a slightly later response to artwork, but such research is still confined to experiences that last less than a few seconds in duration (Cela-Conde et al, 2013). There is recognition that aesthetic experiences vary over longer durations than a few seconds (Chatterjee, 2014;Leder & Nadal, 2014), although the average museum patron spends less than 20 sec engaging with works of art (Smith, Smith, & Tinio, 2017;Smith & Smith, 2001).…”

Section: Measurement Challengesmentioning

confidence: 99%

Buildings, Beauty, and the Brain: A Neuroscience of Architectural Experience

Coburn

Vartanian

Chatterjee

2017

Journal of Cognitive Neuroscience

134

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A burgeoning interest in the intersection of neuroscience and architecture promises to offer biologically inspired insights into the design of spaces. The goal of such interdisciplinary approaches to architecture is to motivate construction of environments that would contribute to peoples' flourishing in behavior, health, and well-being. We suggest that this nascent field of neuroarchitecture is at a pivotal point in which neuroscience and architecture are poised to extend to a neuroscience of architecture. In such a research program, architectural experiences themselves are the target of neuroscientific inquiry. Here, we draw lessons from recent developments in neuroaesthetics to suggest how neuroarchitecture might mature into an experimental science. We review the extant literature and offer an initial framework from which to contextualize such research. Finally, we outline theoretical and technical challenges that lie ahead. and architecture promises to offer biologically inspired insights into the design of spaces. The goal of such interdisciplinary approaches to architecture is to motivate construction of environments that would contribute to peoples' flourishing in behavior, health, and well-being. We suggest that this nascent field of neuroarchitecture is at a pivotal point in which neuroscience and architecture are poised to extend to a neuroscience of architecture. In such a research program, architectural experiences themselves are the target of neuroscientific inquiry. Here, we draw lessons from recent developments in neuroaesthetics to suggest how neuroarchitecture might mature into an experimental science. We review the extant literature and offer an initial framework from which to contextualize such research. Finally, we outline theoretical and technical challenges that lie ahead. ■ Disciplines Bioethics and Medical Ethics | Neuroscience and Neurobiology | Neurosciences

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“…Finally, by analyzing the dynamics of brain functional connectivity, Camilo Cela-Conde et al (19) offer the first identification of brain networks engaged within distinct time frames during the appreciation of beauty. A fast aesthetic perception of the beautiful/notbeautiful condition of each visual stimulus appears within 250-750 ms whereas further aesthetic appreciation processes are subsequently performed in the 1,000-to 1,500-ms range.…”

Section: Human Difference: From Ethics To Aestheticsmentioning

confidence: 99%