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      Visualizing the Impact of Art: An Update and Comparison of Current Psychological Models of Art Experience

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          Abstract

          The last decade has witnessed a renaissance of empirical and psychological approaches to art study, especially regarding cognitive models of art processing experience. This new emphasis on modeling has often become the basis for our theoretical understanding of human interaction with art. Models also often define areas of focus and hypotheses for new empirical research, and are increasingly important for connecting psychological theory to discussions of the brain. However, models are often made by different researchers, with quite different emphases or visual styles. Inputs and psychological outcomes may be differently considered, or can be under-reported with regards to key functional components. Thus, we may lose the major theoretical improvements and ability for comparison that can be had with models. To begin addressing this, this paper presents a theoretical assessment, comparison, and new articulation of a selection of key contemporary cognitive or information-processing-based approaches detailing the mechanisms underlying the viewing of art. We review six major models in contemporary psychological aesthetics. We in turn present redesigns of these models using a unified visual form, in some cases making additions or creating new models where none had previously existed. We also frame these approaches in respect to their targeted outputs (e.g., emotion, appraisal, physiological reaction) and their strengths within a more general framework of early, intermediate, and later processing stages. This is used as a basis for general comparison and discussion of implications and future directions for modeling, and for theoretically understanding our engagement with visual art.

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          Most cited references36

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          Patterns of receptive and creative cultural activities and their association with perceived health, anxiety, depression and satisfaction with life among adults: the HUNT study, Norway.

          Cultural participation has been used both in governmental health policies and as medical therapy, based on the assumption that cultural activities will improve health. Previous population studies and a human intervention study have shown that religious, social and cultural activities predict increased survival rate. The aim of this study was to analyse the association between cultural activity and perceived health, anxiety, depression and satisfaction with life in both genders. The study is based on the third population-based Nord-Trøndelag Health Study (2006-2008), including 50,797 adult participants from Nord-Trøndelag County, Norway. Data on cultural activities, both receptive and creative, perceived health, anxiety, depression and satisfaction with life were collected by comprehensive questionnaires. The logistic regression models, adjusted for relevant cofactors, show that participation in receptive and creative cultural activities was significantly associated with good health, good satisfaction with life, low anxiety and depression scores in both genders. Especially in men, attending receptive, rather than creative, cultural activities was more strongly associated with all health-related outcomes. Statistically significant associations between several single receptive, creative cultural activities and the health-related outcome variables were revealed. This population-based study suggests gender-dependent associations between cultural participation and perceived health, anxiety, depression and satisfaction with life. The results support hypotheses on the effect of cultural activities in health promotion and healthcare, but further longitudinal and experimental studies are warranted to establish a reliable cause-effect relationship.
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            Emotional Responses to Art: From Collation and Arousal to Cognition and Emotion.

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              The artful mind meets art history: toward a psycho-historical framework for the science of art appreciation.

              Research seeking a scientific foundation for the theory of art appreciation has raised controversies at the intersection of the social and cognitive sciences. Though equally relevant to a scientific inquiry into art appreciation, psychological and historical approaches to art developed independently and lack a common core of theoretical principles. Historicists argue that psychological and brain sciences ignore the fact that artworks are artifacts produced and appreciated in the context of unique historical situations and artistic intentions. After revealing flaws in the psychological approach, we introduce a psycho-historical framework for the science of art appreciation. This framework demonstrates that a science of art appreciation must investigate how appreciators process causal and historical information to classify and explain their psychological responses to art. Expanding on research about the cognition of artifacts, we identify three modes of appreciation: basic exposure to an artwork, the artistic design stance, and artistic understanding. The artistic design stance, a requisite for artistic understanding, is an attitude whereby appreciators develop their sensitivity to art-historical contexts by means of inquiries into the making, authorship, and functions of artworks. We defend and illustrate the psycho-historical framework with an analysis of existing studies on art appreciation in empirical aesthetics. Finally, we argue that the fluency theory of aesthetic pleasure can be amended to meet the requirements of the framework. We conclude that scientists can tackle fundamental questions about the nature and appreciation of art within the psycho-historical framework.
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                Author and article information

                Contributors
                Journal
                Front Hum Neurosci
                Front Hum Neurosci
                Front. Hum. Neurosci.
                Frontiers in Human Neuroscience
                Frontiers Media S.A.
                1662-5161
                26 April 2016
                2016
                : 10
                : 160
                Affiliations
                [1] 1Department of Basic Research and Research Methods, Faculty of Psychology, University of Vienna Vienna, Austria
                [2] 2BRAINlab, Department of Neuroscience and Pharmacology, University of Copenhagen Copenhagen, Denmark
                Author notes

                Edited by: Christoph Redies, University of Jena School of Medicine, Germany

                Reviewed by: Rolf Reber, University of Oslo, Norway; Paul John Locher, Montclair State University, USA

                *Correspondence: Matthew Pelowski mattpelowski@ 123456yahoo.com
                Article
                10.3389/fnhum.2016.00160
                4844603
                27199697
                e856bcdf-29bc-4325-86fe-b18b7b643875
                Copyright © 2016 Pelowski, Markey, Lauring and Leder.

                This is an open-access article distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction in other forums is permitted, provided the original author(s) or licensor are credited and that the original publication in this journal is cited, in accordance with accepted academic practice. No use, distribution or reproduction is permitted which does not comply with these terms.

                History
                : 25 January 2016
                : 01 April 2016
                Page count
                Figures: 6, Tables: 2, Equations: 0, References: 89, Pages: 21, Words: 16856
                Categories
                Neuroscience
                Hypothesis and Theory

                Neurosciences
                art,cognitive models,information processing,emotion,evaluation,aesthetic experience
                Neurosciences
                art, cognitive models, information processing, emotion, evaluation, aesthetic experience

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