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      Effects of Touching Sculptures on the Artistic Appreciation of Collative Emotional/Perceptual Properties Translated title: Efectos del Toque en Esculturas en relación a la Apreciación Artística de las Propiedades Colativas Emocionales/Perceptivas Translated title: Efeitos do Toque em Esculturas sobre a Apreciação Artística de Propriedades Colativas Emocionais/Perceptivas

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          Abstract

          Abstract The relationship between physical stimulus and perception is fundamental to understand aesthetic appreciation. This study aimed to examine how the properties of sculptures influence their artistic appreciation. Thirteen participants touched altered sculptures from the series Bichos de Lygia Clark. Participants indicated their perceptions for each stimulus using Semantic Differential Scales (7-point Likert scale): Complexity, Irregularity, Amount of pieces, Interest and Pleasingness. The duration of manipulation was recorded. The results showed that sculptures perceived as having more pieces were the ones judged to have a high level of Complexity and Irregularity. Sculptures evaluated as demonstrating a high level of Complexity and Irregularity were considered more interesting, although less pleasant. Participants tended to spend more time exploring the more complex sculptures. The results indicate that the amount of informational content, represented by the amount of pieces present in the sculpture, can influence the way it is perceived and affect its hedonic value.

          Translated abstract

          Resumen La relación entre el estímulo físico y la percepción es esencial para comprender la apreciación estética. Este estudio tuvo como objetivo examinar cómo las propiedades de las esculturas influyen en su apreciación artística. Trece participantes tocaron esculturas alteradas de la serie Bichos de Lygia Clark. Los participantes manifestaron sus percepciones para cada estímulo utilizando Escalas de Diferencial Semántico (de tipo Likert - 7 puntos): Complejidad, Irregularidad, Cantidad de piezas, Interés y Satisfacción. Se registró la duración de la manipulación. Los resultados apuntaron que las esculturas consideradas con más cantidad de piezas tenían un alto grado de Complejidad e Irregularidad. Las esculturas evaluadas con un alto grado de Complejidad e Irregularidad se consideraron más interesantes, aunque menos agradables. Los participantes tendían a pasar más tiempo explorando las esculturas más complejas. Los resultados indican que la cantidad de contenido informativo, representado por la cantidad de piezas presentes en la escultura, puede influir en la forma de percibirla y afectar su valor hedónico.

          Translated abstract

          Resumo A relação entre estímulo físico e percepção é fundamental para entender a apreciação estética. Este estudo teve como objetivo examinar como propriedades de esculturas influenciam suas apreciações artísticas. Treze participantes tocaram esculturas alteradas da série Bichos de Lygia Clark. Os participantes indicaram suas percepções para cada estímulo usando Escalas de Diferencial Semântico (tipo Likert - 7 pontos): Complexidade, Irregularidade, Quantidade de peças, Interesse e Agradabilidade. A duração da manipulação foi registrada. Os resultados mostraram que esculturas julgadas como tendo maior quantidade de peças foram julgadas como tendo alto nível de Complexidade e Irregularidade. Esculturas avaliadas como demonstrando um alto nível de Complexidade e Irregularidade foram consideradas mais interessantes, embora menos agradáveis. Os participantes tenderam a gastar mais tempo explorando as esculturas mais complexas. Os resultados indicam que a quantidade de conteúdo informacional, representado pela quantidade de peças presente na escultura, pode influenciar o modo como ela é percebida e afetar seu valor hedônico.

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          Reward value of attractiveness and gaze.

          Faces are visual objects in our environment that provide strong social cues, with the eyes assuming particular importance. Here we show that the perceived attractiveness of an unfamiliar face increases brain activity in the ventral striatum of the viewer when meeting the person's eye, and decreases activity when eye gaze is directed away. Depending on the direction of gaze, attractiveness can thus activate dopaminergic regions that are strongly linked to reward prediction, indicating that central reward systems may be engaged during the initiation of social interactions.
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            Move me, astonish me… delight my eyes and brain: The Vienna Integrated Model of top-down and bottom-up processes in Art Perception (VIMAP) and corresponding affective, evaluative, and neurophysiological correlates.

            This paper has a rather audacious purpose: to present a comprehensive theory explaining, and further providing hypotheses for the empirical study of, the multiple ways by which people respond to art. Despite common agreement that interaction with art can be based on a compelling, and occasionally profound, psychological experience, the nature of these interactions is still under debate. We propose a model, The Vienna Integrated Model of Art Perception (VIMAP), with the goal of resolving the multifarious processes that can occur when we perceive and interact with visual art. Specifically, we focus on the need to integrate bottom-up, artwork-derived processes, which have formed the bulk of previous theoretical and empirical assessments, with top-down mechanisms which can describe how individuals adapt or change within their processing experience, and thus how individuals may come to particularly moving, disturbing, transformative, as well as mundane, results. This is achieved by combining several recent lines of theoretical research into a new integrated approach built around three processing checks, which we argue can be used to systematically delineate the possible outcomes in art experience. We also connect our model's processing stages to specific hypotheses for emotional, evaluative, and physiological factors, and address main topics in psychological aesthetics including provocative reactions-chills, awe, thrills, sublime-and difference between "aesthetic" and "everyday" emotional response. Finally, we take the needed step of connecting stages to functional regions in the brain, as well as broader core networks that may coincide with the proposed cognitive checks, and which taken together can serve as a basis for future empirical and theoretical art research.
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              Object-specific semantic coding in human perirhinal cortex.

              Category-specificity has been demonstrated in the human posterior ventral temporal cortex for a variety of object categories. Although object representations within the ventral visual pathway must be sufficiently rich and complex to support the recognition of individual objects, little is known about how specific objects are represented. Here, we used representational similarity analysis to determine what different kinds of object information are reflected in fMRI activation patterns and uncover the relationship between categorical and object-specific semantic representations. Our results show a gradient of informational specificity along the ventral stream from representations of image-based visual properties in early visual cortex, to categorical representations in the posterior ventral stream. A key finding showed that object-specific semantic information is uniquely represented in the perirhinal cortex, which was also increasingly engaged for objects that are more semantically confusable. These findings suggest a key role for the perirhinal cortex in representing and processing object-specific semantic information that is more critical for highly confusable objects. Our findings extend current distributed models by showing coarse dissociations between objects in posterior ventral cortex, and fine-grained distinctions between objects supported by the anterior medial temporal lobes, including the perirhinal cortex, which serve to integrate complex object information.
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                Author and article information

                Journal
                paideia
                Paidéia (Ribeirão Preto)
                Paidéia (Ribeirão Preto)
                Universidade de São Paulo, Faculdade de Filosofia Ciências e Letras de Ribeirão Preto, Programa de Pós-Graduação em Psicologia (Ribeirão Preto, SP, Brazil )
                0103-863X
                1982-4327
                2020
                : 30
                : e3021
                Affiliations
                [1] Ribeirão Preto orgnameUniversidade de São Paulo Brazil
                Article
                S0103-863X2020000100203 S0103-863X(20)03000000203
                10.1590/1982-4327e3021
                3bbb2668-9e95-47d3-83df-7addecbb6198

                This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.

                History
                : 10 October 2018
                : 18 April 2018
                Page count
                Figures: 0, Tables: 0, Equations: 0, References: 49, Pages: 0
                Product

                SciELO Brazil

                Self URI: Full text available only in PDF format (EN)
                Categories
                Psychology of Health

                percepção,percepción,aesthetics,comportamento exploratório,art,escultura,estética,sculpturing,arte,comportamiento exploratorio,exploratory behavior,perception

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