sign in sign up
<<
Home , Neuroesthetics, Psychology of art

Universal Journal of Psychology 2(8): 248-254 2014 http://www.hrpub.org DOI: 10.13189/ujp.2014.020802

An Introduction to the Aesthetic Precognition: Threat or Opportunity for Contemporary ?

Giuseppe Galetta

Department of Humanities and Social Sciences, Psychological Area, University of Cassino and Southern Latio (Uniclam), Campus “Folcara”, 03043 Cassino (FR), Italy *Corresponding Author: [email protected]

Copyright © 2014 Horizon Research Publishing All rights reserved.

Abstract This paper presents some findings of an Is it possible to identify the compositional characteristics ongoing on the and aesthetic of an artwork, that are able to activate the brain areas appreciation of the artworks, based for the first time on the responsible for the Beauty recognition, inducing the use the most popular social network: Facebook. Exploiting Aesthetic Pleasure in the viewers? Maybe all of us are driven the system of “like” and “share”, on which Facebook is by a specific form of aesthetic determinism when we admire based, thousands of artwork images were submitted to a and appreciate an artwork? If we were able to predict the sample of over 10,000 users worldwide. Through the metrics aesthetic preferences of the public towards an artwork, analysis related to the aesthetic preferences expressed by maybe could we talk about Aesthetic Precognition? the users, it was observed they are inclined to react the same According to recent studies in the field of , way towards certain visual stimuli coming from artwork the process of aesthetic appreciation by the perceivers has a images: specific compositional characteristics of the neurophysiological basis [1,2]. Comparing the findings of artworks are able to influence the aesthetic preferences of the these studies with the Processing Fluency theory of aesthetic viewers towards some artworks rather than others. The pleasure [3], that emphasizes the interaction between the steady repetition of aesthetic preferences related to same perceiver and an object, focusing on the effects of objective compositional elements present in the artworks allowed to stimulus attributes on perceived Beauty, we hypothesized predict the subsequent aesthetic choices by the viewers that Beauty perception and Aesthetic Pleasure of the viewers towards not yet posted artworks. We identified some of these are predetermined by specific visual characteristics of the responsive elements, which would be able to activate the artworks. Based on this insight, we analyzed the aesthetic Beauty recognition and the Aesthetic Pleasure in the preferences expressed by a wide sample of viewers towards perceivers. In this way it would be possible to develop an several artwork images posted on Facebook: it was noted Aesthetic Algorithm able to identify the share of Beauty that most of viewers reacts the same way in front of precise required to activate the Aesthetic Pleasure, by introducing visual stimuli. The presence of specific compositional specific responsive elements in the artworks with the aim of elements within the artworks would be able to influence the predicting, and also predetermining, the viewers reactions. aesthetic judgment: this would not be subjective and based The knowledge of the perceptual mechanisms capable of on inborn or acquired preferences, but resides in the features activating the Aesthetic Pleasure might allow to predict and of the viewed object, that stimulate the Aesthetic Pleasure of influence beforehand the aesthetic preferences of viewers the viewer. So the viewer’s brain would be adapted to these toward the artworks, with many implications for the current hedonically marked features of the artworks. Art Market. We described this predictive analysis of Here we anticipate some findings of an empirical study, aesthetic appreciation of the viewers as Aesthetic still in progress, that we are conducting in innovative and Precognition. unconventional way through the use of the most popular social network (Facebook), in order to explore a new field of Keywords , Neuroesthetics, Empirical investigation based on the intersection among Psychology of , Perception, Precognition, Facebook Perception, Neuroesthetics and Information Technology. We decided to use Facebook because it is currently the

largest site of statistical aggregation in an increasingly connected and technology-driven world, but at the present 1. Introduction stage of research we have opted not include numbers, because we are still developing a new methodology of Universal Journal of Psychology 2(8): 248-254 2014 249

analysis to reduce the presence of confounding variables the investigation has been able to attracting, gathering and and the tendency to follow the majority opinion, refining polarizing the aesthetic preferences of the viewers towards the mass of big data coming from the social network. artwork images that meet some specific visual characteristics, Nevertheless, the research seems to indicate a new direction that we have identified as responsive: due to the Facebook to be followed in the studies of Empirical Aesthetics. algorithm (Edge Rank), the aesthetic preferences of some viewers may those of others. For this reason a more appropriate screening is needed. 2. Materials and Methods To get our reference sample, we opened three identical Facebook profiles, on which we posted every day for three 3. Results years, images depicting many works of Contemporary Art, The experiment has confirmed that the viewers, with no specifically in the form of and installations, significant differences between the expertise of each created through many different artistic techniques by analyzed cluster (art expert or non-expert) and their specific numerous from around the world. culture or nationality, were somehow attracted by the same The analyzed sample was made up of contacts aggregated kind of images and by the same combinations of to each profile, which have been divided into two clusters, compositional elements (shapes, colors, spatial layout, etc.), based on the level of their expertise in art: naïve viewers (art reacting the same way to identical aesthetic stimuli: in fact, untrained), and art experts (artists, curators, critics, when we proposed afterwards other different artwork images gallerists), both of them coming from around the world, to in accordance with the aesthetic preferences previously whom thousands of artwork images were submitted with the given by the viewers, it was possible to predict rather aim to evaluate personal aesthetic preferences of the viewers, accurately their possible aesthetic choices towards the expressed through the “like” and “share” system, typical of artworks before these were shown. Facebook. As all profiles reached the limit of 5,000 personal Although there was no contextualization of the artworks contacts (imposed by the social network), due to the large inside a three-dimensional exhibition space, such as an art number of connection requests coming from new friends gallery or a museum (in fact images were shown in a attracted by the images, our research has focused on a sample bi-dimensional mode through the computer screen), anyway of over 10,000 users worldwide, unaware of being involved the experiment gave back a rather accurate idea of which into the experiment. In the course of three years, we should be the responsive compositional elements present submitted over 15,000 artwork images (about 15 per day), within the artworks, that would be able to activate the Beauty alterning images in which specific visual characteristics to be recognition and stimulate the Aesthetic Pleasure in the analyzed were present, with others images in which those perceiver, unlike the Functional Magnetic Resonance characteristics were absent, in order to identify the aesthetic Imaging (fMRI), which has allowed only to describe until characteristics of artworks preferred by the viewers. In this now the brain modifications in Art viewing and identify the regard we have analyzed carefully metrics, analytics and cerebral areas connected to the aesthetic appreciation under folksonomies provided by the social network, related to the the influence of specific visual stimuli [4,5], however aesthetic preferences of the viewers, that is the quantitative without making an in-depth study about the influence of data obtained in terms of “like” and “share” by the users, as some specific responsive elements present in the artworks, well as the user engagement percentages achieved by each that should be able to activate the perception of Beauty, artwork image, which expressed rather accurately the inducing a specific aesthetic behavior by the public. aesthetic orientation by the viewers, analyzing and Indeed, during the experiment, it was possible to isolate segmenting the visual characteristics of each artwork, some well-defined categories of compositional elements identifying the occurrences of specific compositional within the artworks that, when combined in a precise way, elements, and comparing them to the peaks of aesthetic should activate the Beauty recognition and drive the preferences determined by the viewers’ choices. aesthetic preferences of perceivers towards artworks that The most interesting parameter considered during the meet such compositional characteristics, so that during the experiment was the total engagement: in the metrics analysis experiment we were able to predict with reasonable accuracy of the preferred artwork images, this parameter represents which artworks the public would been preferred. In fact, the amount of all users interactions that each artwork image thousands of artwork images having those identified has been able to generate. It is obtained by the algebraic sum compositional characteristics were subsequently reproposed of “like”, “share”, spontaneous comments and posts by the several times, and the preferences of the viewers were viewers about the posted artwork images on Facebook exactly what we expected, confirming that such timeline. In fact, as a user preference may be influenced by compositional items present within the artworks are able to the aesthetic preferences of users majority, to analyze only activate the onset mechanisms of Aesthetic Pleasure in the “like” variable may be restrictive and misleading in this perceiver, stimulating the brain areas connected to the research. Therefore, another important research parameter to Beauty recognition: they seem to influence the aesthetic be considered is the virality of “like” diffusion, that during preferences of the viewers, inducing specific reactions in the 250 An Introduction to the Aesthetic Precognition: Threat or Opportunity for Contemporary Art?

public. As a countercheck, we proposed several artwork space or into the fruition context (such as a gallery, images in which, intentionally, those responsive elements museum, or urban space); were absent: as expected, the percentages of preferences • the importance of light as a function of iconographic towards those artworks were very low. This allowed to grammar and syntax; confirm that certain specific compositional elements inside • the of semantic contrasts or paradoxical the artworks play as attractors of Aesthetic Pleasure, juxtaposition (Figure 5); enabling the Beauty recognition by the perceivers and the • a modulated and not too sharp deviation compared to orientation of aesthetic preferences towards an artwork the canonical images of artistic Beauty; rather than another, bringing about the prediction of a precise • an unexpected deviation from the rules of spatial aesthetic behavior from the public, contrary to a fully perspective, normally reconstructed by the viewer subjective interpretation or judgment about Beauty and through the rules of perceptual constancy, according to aesthetic appreciation. As already noted by the latest [9]; research in the field of Neuroesthetics, “human beings are • the reference to known forms of reality; endowed with species-specific mechanisms that resonate in • the presence of images that recall dynamism and response to certain parameters present in works of art” [6]: movement. keeping in mind the symbolic and evocative appeal of an artwork, and the conditioning exercised by a subjective aesthetic experience, cultural background, personal values, , and by specificity of the individual memories of each perceiver, that certainly could determine a subjective and changeable judgment about the aesthetic Beauty of an artwork, we observed that the Beauty perception was activated more frequently in the presence of specific responsive visual elements present in the artworks, and through our experiment it was possible to identify such compositional items by means of an accurate data gathering related to the occurrence and frequency of their presence within the artworks, and to the aesthetic preferences expressed by the viewers. Some of those responsive elements able to activate the Beauty recognition and stimulate the Aesthetic Pleasure in Jean-Paul Bourdier (2007). Bodyscapes. the viewers, which we have identified in the course of the Figure 1. Black / white contrast experiment conducted through the use of Facebook, are: • the black / white contrast (Figure 1); • specific shapes and their layout or compositional equilibrium; • the presence of regular geometries (Figure 2); • specific combinations of bright colors or, on the contrary, a smooth color gradation and soft tones; • the interaction, correlation, concordance, semplicity, balance, linearity, simmetry and of the compositional elements within the artworks; • the presence of red color (Figure 3); • the multiplication or repetition of elements identical to themselves (Figure 4); • the presence of evanescent, evocative or surreal elements; • the Golden Ratio or Sectio Aurea, namely the proportion of compositional elements expressed by the value Φ=1:0.618 [7,8]; • the presence of no more than three visual items or defined groups of figurative elements to be decoded; • the presence of perfect circles, or circular and rounded shapes; Richard Serra (1987). 1, 2, 3, 4, 5, 6, 7, 8. • the miniaturization of the compositional items; • the specific location of an artwork inside the exhibition Figure 2. Regular geometries Universal Journal of Psychology 2(8): 248-254 2014 251

As recently demonstrated by in-depth investigations repetition of the same aesthetic choices towards certain conducted through the use of techniques artwork groups showed that there are some specific (fMRI), Art viewing stimulates the right hemisphere and compositional elements inside the artworks able to activate of the brain [10,11], but we have observed the Beauty appreciation and Aesthetic Pleasure in all the that the above compositional elements are able to induce perceivers. The responses provided by the viewers towards precise aesthetic behaviours, influencing the aesthetic the above compositional elements appeared to be similar for choices and driving the aesthetic preferences of the viewers each individual, so that it was possible to predict the towards some artworks rather than others, activating so the following aesthetic preferences of the public towards not yet Beauty recognition and the Aesthetic Pleasure in the submitted artworks. We have defined such phenomenon as perceivers. We even believe that, if such elements were Aesthetic Precognition, that is the possibility to predict in present all together in a specific display context, and were advance the aesthetic preferences of a viewer towards an shown to neurophysiological predisposed individuals, they artwork group before this was exhibited, or, for those could be able to cause a perceptive shock or aesthetic individuals who learned to recognize the responsive breakdown in the perceiver, known as Stendhal syndrome compositional elements of an artwork, that specific ability to [12,13]. identify beforehand the structures of Beauty inside an artwork: in fact, the knowledge of these responsive structures should make possible to foreknow what may be the aesthetic appreciation of a viewer towards an artwork. The Aesthetic Precognition has nothing paranormal or esoteric, because that is connected to neurophysiological and biochemical workings of the brain and to human perception dynamics, according to which the humans realize the Beauty concept, that would be only apparently subjective, and are attracted or fascinated by a given artwork rather than another [17,18]. Probably, the concept of Beauty, that forms and organizes the human perceptional experience relating to the Art, is biologically and genetically predetermined, like if it was inscribed by ever in the human DNA. In our opinion, the process of brain assimilation of prototypical structures of Beauty could be supported by the mirror neurons, that have fixed artwork images introjecting and storing them like a computer memory, through repeated exposures over time. It may be that, in the course of human evolution, this psychobiological process has helped to build a neuropsychic apparatus of Beauty recognition, a sort of aesthetic memory based on the viewer’s experiences, that corresponds to a specific prototypicality system, supporting the development of brain receptors of Aesthetic Pleasure, that now would be able to react rather automatically and in reflected way to visual stimuli coming from the Art viewing, making predictable the aesthetic reactions by the perceivers: Beauty Anish Kapoor (2009). Ascension (Red). appreciation would be therefore a selective and hereditary Figure 3. Red color trait of the human evolution [19,20]. But the inheritance of an genetic aesthetic memory is yet to be proven. As argued by E. H. Gombrich[14], the factors that The Aesthetic Precognition is basically a specific form of determine the aesthetic experience are inherent in our aesthetic determinism, or aesthetic perceptional conditioning, biological inheritance, even if we are unable to give them a through which the preference of an individual towards an conscious explanation. Towards specific visual stimuli, the artwork rather than another may be predicted or even aesthetic appreciation seems to activate and resonate in the predetermined: according to this perspective, it would be same way in all the perceivers worldwide [15]: it’s like if the possible to know in advance if a viewer will like or not a viewer, by admiring an artwork having those specific given artwork, or create some artworks able to activate or characteristics, discovered something already known, a kind induce for sure the Aesthetic Pleasure in the viewers, of immanent principle of Beauty: C. G. Jung[16] called this influencing beforehand the aesthetic appreciation of the principle as Archetype. In fact, we have detected the same public, or driving in a predetermined way their aesthetic typology of aesthetic appreciation by the most viewers in preferences towards certain artworks instead of others. both analyzed clusters (expert or non-expert in art) exposed The ability of influence beforehand the aesthetic judgment to the submitted artwork images: the systematic and steady could give rise to a new form of Aesthetic Cognitivism, based 252 An Introduction to the Aesthetic Precognition: Threat or Opportunity for Contemporary Art?

on the recognition of the behavioral aesthetic reactions from preferences of the public, because that relies on the hedonic the perceivers. need of the viewer, and on the induction of Aesthetic Pleasure [30]. The predictive analysis of the artworks’ Beauty, based on the knowledge of compositional elements 4. Discussion capable of activating the Beauty recognition and stimulating For centuries man questioned about the concept of Beauty the Aesthetic Pleasure in the perceivers, might allow the and its nature, but probably Beauty is just based on the brain artists to operate according to the Aesthetic Precognition, to neural structures, that can now be explored and analyzed in such an extent to modify their artistic in order to depth [21-23]: if Neuroesthetics has made possible to influence the aesthetic preferences of the viewers. So it identify - through the neuroimaging technologies such as the would be possible to develop a Precognitive Aesthetics based fMRI - the brain areas activated during the Art viewing on the predetermination of aesthetic tastes and preferences of process [24,25], the investigation we are still carrying out is the public towards the artworks, but also to build a specific allowing to identify the aesthetic orientation of the viewers technique of aesthetic persuasion able to provide the artists with respect to specific responsive compositional elements with the know-how through which activating the brain areas present within the artworks, that seem can stimulate the involved in the Beauty appreciation, and inducing the emergence of Aesthetic Pleasure in the perceivers. This desired aesthetic reaction in the perceivers: the knowledge of perceptual process was highlighted by the aesthetic the brain reaction mechanisms towards specific visual preferences of the viewers related to thousands of artworks stimuli, such as shapes or colours inside the artworks, would submitted during the experiment, constantly repeated with allow to condition the aesthetic appreciation and drive the respect to specific visual stimuli: to that are certainly aesthetic preferences of the public in predetermined way. connected to psychobiological mechanisms of perception, For this reason, the process of artistic creativity, which have become Beauty-sensitive in the course of human unaffected expression of spontaneous emotions, could turn evolution [26-28]. into a specific ability to catch in a intentional way the aesthetic preferences of the public, activating the desired reactions by the viewers: so the ’s work would turn into aesthetic predetermination, by creating pieces of art predestined to be beautiful.

Spencer Tunick (2013). Desert Spirits. Figure 4. Moltiplication and repetition of elements

Through the study of those responsive compositional Tanapol Kaewpring (2010). Entrapment. elements present within the artworks, the analysis of Figure 5. Semantic contrasts or paradoxical juxtaposition aesthetic behaviour experienced by the viewers, and the support of Neuroesthetics, which analyzes the neural Indeed, founding a Predictive Aesthetics might be mechanisms involved in the aesthetic appreciation, it would someway dangerous: the possibility of making a deliberate be possible to develop an Aesthetic Algorithm able to predict and artificial Beauty building, and the ability to attract and rather accurately the aesthetic preferences of the perceivers condition successfully the aesthetic preferences and choises towards the artworks, before these are shown, predicting the of the public, based on the foreknowledge of the responsive aesthetic preferences of the viewers. According to this compositional elements inside the artworks, responsible for algorithm, an artist could even be able to modulate the share the activation of Aesthetic Pleasure, might become a new of Beauty to be included within the artwork, with the aim to artistry or an effective technique, strategically learned and induce specific reactions and emotions in the viewers [29], implemented by the artists with the aim to influence the by acting on the basis of a Predictive Aesthetics: a sort of aesthetic judgment of the viewers, inducing an aesthetic planned, premeditated and subliminal aesthetic conditioning, premeditation able to inhibit and affect the creative freedom, able to influence, orientate, direct and drive the aesthetic and bringing about a leveling and standardization of the Universal Journal of Psychology 2(8): 248-254 2014 253

artistic production on a steady beauty, a sort of white noise behavioral marketing aimed to capture the public favor, with that could stifle the spontaneous expression of artistic a result of determining a precise orientation of artists’ work. creativity. In fact, the creative inspiration or impetus that But, on the contrary, Aesthetic Precognition could also drive the artist might be affected and conditioned beforehand: represent an opportunity to improve the understanding of the through the foreknowledge of the brain activation Art fruition dynamics, getting a better awareness of the mechanisms of Aesthetic Pleasure, an artist could become human creative potentials. the creator of a conscious, intentional and premeditated Our investigation has not been completed yet, but it is only aesthetics, depriving the artwork of its status of autonomous at the beginning: next step will be to identify the Aesthetic set of meanings, susceptible to subjective interpretation by Algorithm able to describe in mathematical terms the process each individual. of Beauty recognition, the aesthetic appreciation dynamics, The Aesthetic Precognition could be certainly an and the mechanisms of activation of the Aesthetic Pleasure interesting research perspective from a scientific point of in the perceivers: this algorithm could support the view, because it is situated at the intersection between development of a psychological theory of aesthetic behavior, Experimental Psychology and Empirical Aesthetics, but this connected on one hand to the neurophysiological operational new search field could upset the dynamics of valuing the mechanisms of , on the other to the cognitive artworks, giving more importance to the aesthetic processes, without neglecting the role played by the of the public rather than the art experts: public might be individual unconscious. influenced in premeditated way by the artists through Aesthetic Precognition techniques, and this would revolutionize at last the Art Market. In fact, the possibility of establishing a Precognitive Aesthetics might be dangerous for the current Art System: the predictive formula of the REFERENCES artwork Beauty could influence not only the aesthetic [1] C. J. Cela-Conde, L. Agnati, J. P. Huston, F. Mora, M. Nadal. judgment of the public, but also the artists’ work. An artistic The neural foundations of aesthetic appreciation, Progress in talent might be built on the precognition of the aesthetic Neurobiology, No.94, 39-48, 2011. preferences of the public: thanks to the knowledge of [2] G. C. Cupchik, O. Vartanian, A. Crawley, D. J. Mikulis. compositional elements capable of influencing the activation Viewing artworks: Contributions of cognitive control and mechanisms of Aesthetic Pleasure, an artist could be able to perceptual facilitation to aesthetic experience, Brain and create ever-beautiful artworks in order to satisfy and gratify , No.70, 84-91, 2009. the aesthetic tastes of the public all the time [31]. For this [3] R. Reber, N. Schwarz, P. Winkielman. Processing Fluency reason the Aesthetic Precognition could influence the and Aesthetic Pleasure: Is Beauty in the Perceiver’s creative freedom, inducing the artist to create artworks Processing Experience?, Personality and Social Psychology according to these predictive criteria. Review, No.8(4), 364-382, 2004. Through the Aesthetic Precognition an artist could suit [4] M. Nadal. The experience of art: Insight from neuroimaging, perfectly the tastes of the public, predetermining and Progress in Brain Research, No.204, 135-158, 2013. anticipating the aesthetic choices of the viewers, with the aim to reach an universal and absolute Beauty. This [5] E. Munar, M. Nadal, N. P. Castellanos, A. Flexas, F. Beauty-centric process of valuing an artwork might be able Maestù, C. Mirasso, C. J. Cela-Conde. Aesthetic appreciation: event-related field and time-frequency to claim a different market value for the artworks, or even analyses, Frontiers in Human , No.5(185), change the value assigned so far. In fact, the creation of a doi: 110.3389/fnhum.2011.00185, 2012. new market value for an artwork, based exclusively on its real Beauty, recognized and accepted by all (not only by art [6] C. Di Dio, E. Macaluso, G. Rizzolatti. The Golden Beauty: Brain Response to Classical and Renaissance Sculptures. experts), besides to modify the creative processes of artistic PLoS ONE 2(11): e1201, doi:10.1371/journal.pone.0001201, work, could revolutionize also the current conventional rules 2007. of valuing the artworks, and the evaluation criteria implemented by the art influencers, such as critics, curators, [7] H. E. Huntley. The divine proportion. A study in , Dover Publications, New York, 1970. art dealers or gallery owners, who manage the Art Market nowadays, not always corresponding to aesthetic criteria. [8] M. Livio. The Golden Ratio. The story of Phi, the extraordinary number of nature, art and beauty, Headline Book Publishing, London, 2002. 5. Conclusions [9] R. Arnheim. Art and : A Psychology of the Creative Eye, University of California Press, Berkeley, CA, The Aesthetic Precognition can certainly pose a threat to USA, 1974 (1954). Creativity, which through the foreknowledge of techniques [10] C. J. Cela-Conde, G. Marty, F. Maestú, T. Ortiz, E. Munar, et of stimulation of the Aesthetic Pleasure could be influenced, alii. Activation of the prefrontal cortex in the human visual conditioned and distorted, making artists less spontaneous aesthetic perception, Psychology, No.101, 6321-6325, 2004. and free: Creativity might be reduced to a mere operation of [11] M. L. Kringelbach. The human : linking 254 An Introduction to the Aesthetic Precognition: Threat or Opportunity for Contemporary Art?

reward to hedonic experience, Nature Reviews Neuroscience, No.29, 276-285, 2006. No.6, 691-702, 2005. [23] O. Vartanian, V. Goel. Neuroanatomical correlates of [12] G. Magherini. (in Italian) La sindrome di Stendhal (The aesthetic preference for , Neuroreport, No.15, Stendhal Syndrome), Ponte Alle Grazie, Florence, Italy, 893-897, 2004. 1989. [24] S. Zeki. Inner Vision: An Exploration of Art and the Brain, [13] T. R. J. Nicholson, C. Pariante, D. McLoughlin. Stendhal Oxford University Press, New York, 1999. syndrome: A case of cultural overload, Case Reports 2009: bcr0620080317, doi: 10.1136/bcr.06.2008.0317. [25] A. Flexas, J. Rossello-Mir, P. de Miguel, M. Nadal, E. Munar. Cognitive control and unusual decisions about beauty : An [14] E. H. Gombrich. Tributes. Interpreters of our cultural fMRI study, Frontiers in Human Neuroscience, No.5(520), tradition, Phaidon Press, Oxford, 1984. doi: 10.3389/fnhum.2014.00520, 2014. [26] D. E. Berlyne. Aesthetics and Psychobiology, Appleton [15] M. Csikszentmihalyi. Optimal Experience: Psychological Studies of Flow in Consciousness, Cambridge University Century Crofts, East Norwalk, CT, 1971. Press, Cambridge, NY, 1988. [27] C. Martindale. Evolutionary and neurocognitive approaches to Aesthetics, Creativity, and the , Baywood Publishing [16] C. G. Jung. The Archetypes and The Collective Unconscious Company, Amityville, NY, 2007. (1934-1954), In: The Collected Works of C.G. Jung, Vol.9 (part 1), Princeton University Press, Princeton, NJ, 1969. [28] D. W. Zaidel, M. Nadal, A. Flexas, E. Munar. An Evolutionary Approach to Art and Aesthetic Experience, [17] C. W. Valentine. The experimental psychology of beauty, Psychology of Aesthetics, Creativity, and , No.7, Methuen, London, 1962. 100-109, 2013. [18] A. P. Shimamura. Experiencing Art: In the Brain of the [29] D. Freedberg, V. Gallese. Motion, and in Beholder, Oxford University Press, New York, 2013. esthetic experience, Trends in Cognitive Sciences, No.11, 197-203, 2007. [19] D. Dutton. The Art Instinct: Beauty Pleasure, and Human Evolution, Bloomsbury, New York, 2009. [30] P. Winkielman, N. Schwarz, T. Fazendeiro, R. Reber. The hedonic marking of processing fluency: Implications for [20] M. Nadal, M. A. Capó, E. Munar, G. Marty, C. J. Cela-Conde. evaluative judgment, In: J. Musch, K. C. Klauer (Eds.). The Constraining hypotheses on the evolution of art and aesthetic Psychology of Evaluation: Affective Processes in Cognition appreciation, In: M. Skov, O. Vartanian (Eds.). and Emotion, Lawrence Erlbaum, Mahwah, NJ, 189-217, Neuroaesthetics, Baywood Publishing Company, Amityville, 2003. NY, 103-129, 2009. [31] D. E. Berlyne. Studies in the New : [21] H. Kawabata, S. Zeki. Neural Correlates of Beauty, Journal of Steps Toward an Objective Psychology of Aesthetic , No.91, 1699-1705, 2004. Appreciation, Hemisphere, Oxford, UK, 1974.

[22] T. Jacobsen, R. I. Schubots, L. Höfel, D.Y. v. Cramon. Brain Correlates of aesthetic judgment of beauty, NeuroImage,