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Is there an objective, biological basis for the experience of beauty in art? Or is aesthetic experience entirely subjective? Using fMRI technique, we addressed this question by presenting viewers, nave to art criticism, with images of masterpieces of Classical and Renaissance sculpture. Employing proportion as the independent variable, we produced two sets of stimuli: one composed of images of original sculptures; the other of a modified version of the same images. The stimuli were presented in three conditions: observation, aesthetic judgment, and proportion judgment. In the observation condition, the viewers were required to observe the images with the same mind-set as if they were in a museum. In the other two conditions they were required to give an aesthetic or proportion judgment on the same images. Two types of analyses were carried out: one which contrasted brain response to the canonical and the modified sculptures, and one which contrasted beautiful vs. ugly sculptures as judged by each volunteer. The most striking result was that the observation of original sculptures, relative to the modified ones, produced activation of the right insula as well as of some lateral and medial cortical areas (lateral occipital gyrus, precuneus and prefrontal areas). The activation of the insula was particularly strong during the observation condition. Most interestingly, when volunteers were required to give an overt aesthetic judgment, the images judged as beautiful selectively activated the right amygdala, relative to those judged as ugly. We conclude that, in observers nave to art criticism, the sense of beauty is mediated by two non-mutually exclusive processes: one based on a joint activation of sets of cortical neurons, triggered by parameters intrinsic to the stimuli, and the insula (objective beauty); the other based on the activation of the amygdala, driven by one's own emotional experiences (subjective beauty).
Copyright: 2007 Di Dio et al. This is an open-access article distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited.
Funding: This study was supported by a grant from Italian Ministero Universit Ricerca to G Rizzolatti. Funders had no role in the design and conduct of the study, in the collection, analysis, or interpretation of the data, and in the preparation, review, or approval of the manuscript.
One of the most debated issues in aesthetics is whether beauty may be defined by some objective parameters or whether it merely depends on subjective factors. The first perspective goes back to Plato's objectivist view of aesthetic perception, in which beauty is regarded as a property of an object that produces a pleasurable experience in any suitable viewer. This stance may be rephrased in biological terms by stating that human beings are endowed with species-specific mechanisms that resonate in response to certain parameters present in works of art. The alternative stance is that the viewers' evaluation of art is fully subjective. It is determined by experience and personal values (see [1], [2]).
Although it is commonly accepted that subjective criteria play a major role in one's aesthetic experience (see [3]), it is also reasonable to accept that there exist specific biologically-based principles which may facilitate the perception of beauty in the beholder. After all, new artists typically first master the ability to represent standard principles of beauty, such as symmetry and proportion, and only then eventually bend these rules to represent their overall vision of the world (see [4]).
Fourteen healthy right-handed volunteers (8 males, 6 females; mean age 24.5, range 12 years) participated in this study. They were educated undergraduate or graduate students, with no experience in art theory. After receiving an explanation of the experimental procedure, participants gave their written informed consent. The study was approved by the independent Ethics Committee of the Santa Lucia Foundation (Scientific Institute for Research Hospitalization and Health Care).
The stimuli were presented in three experimental conditions: observation (O), aesthetic judgment (AJ), and proportion judgment (PJ). Each participant underwent 6 separate fMRI runs, repeating each condition twice. The condition order was maintained fixed across all participants, with observation condition first, explicit aesthetic judgment second, and explicit proportion judgment, last. By keeping the observation runs first, we aimed at measuring unbiased (spontaneous) brain responses to the type of the stimuli (canonical and modified). To make sure that volunteers were not biased in their aesthetic judgment by explicit proportion evaluation, the aesthetic judgment condition always preceded the proportion judgment runs.
Within each run we presented 30 stimuli (15 canonical and 15 modified) in a randomized order, but never repeating the same image within a run. A question mark instructed the participants to respond to the images after a 4s-fix interval following each stimulus presentation by using a response box placed inside the scanner.
Functional images were acquired with a Magnetom Vision MRI scanner (Siemens, Erlangen, Germany) operating at 3T. Blood oxygenation level dependent (BOLD) contrast was obtained using echo-planar T2* weighted imaging (EPI). The acquisition of 32 transverse slices with an effective repetition time of 2.08 s, provided coverage of the whole cerebral cortex. The in-plane resolution was 33 mm.
As shown in Figure 2, activations were found in occipital and temporal visual areas, including lingual and fusiform gyri. Additionally, activations were observed in the inferior parietal lobule (IPL) bilaterally, in the SMA/pre-SMA complex, ventral premotor areas, and in the posterior part of right inferior frontal gyrus (IFG). Signal increase was also found in the insula and hippocampus. Most of the activations were bilateral, although stronger in the right hemisphere. These results are summarized in Table 1.
The analysis was carried out by averaging activity across the three experimental conditions (observation, aesthetic judgment, proportion judgment). Group-averaged statistical parametric maps are rendered onto the MNI brain template (P-corrected
The direct contrast of canonical vs. modified images across the three experimental conditions revealed signal increase for the canonical stimuli in the right occipital cortex extending into lingual gyrus; in the precuneus bilaterally; in the right posterior cingulate gyrus; and in the depth of right inferior frontal sulcus extending to the adjacent convexity of the middle frontal gyrus (P-corrected
The lateral occipital cortex (LOC, [28], [29]) and the temporal visual areas are known to be responsive to the presentation of body parts or even the whole human body [30], [31]. Signal increase within these areas may be therefore due to a greater representation of canonical body structures relative to the disproportionate ones. The activation of the medial parietal areas and of the prefrontal lobe, on the other hand, might be related to mnemonic functions (e.g. [32], [33]; for review see [34]), possibly elicited by the retrieval of plausible motor configurations, better represented by the proportional material.
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