Gabriella Gilli

When Art Moves the Eyes: A Behavioral and Eye-Tracking Study

The aim of this study was to investigate, using eye-tracking technique, the influence of bottom-up and top-down processes on visual behavior while subjects, naïve to art criticism, were presented with representational paintings. Forty-two subjects viewed color and black and white paintings (Color) categorized as dynamic or static (Dynamism) (bottom-up processes). Half of the images represented natural environments and half human subjects (Content); all stimuli were displayed under aesthetic and movement judgment conditions (Task) (top-down processes). Results on gazing behavior showed that content-related top-down processes prevailed over low-level visually-driven bottom-up processes when a human subject is represented in the painting. On the contrary, bottom-up processes, mediated by low-level visual features, particularly affected gazing behavior when looking at nature-content images. We discuss our results proposing a reconsideration of the definition of content-related top-down processes in accordance with the concept of embodied simulation in art perception.

Human, Nature, Dynamism: The Effects of Content and Movement Perception on Brain Activations during the Aesthetic Judgment of Representational Paintings

Movement perception and its role in aesthetic experience have been often studied, within empirical aesthetics, in relation to the human body. No such specificity has been defined in neuroimaging studies with respect to contents lacking a human form. The aim of this work was to explore, through functional magnetic imaging (f MRI), how perceived movement is processed during the aesthetic judgment of paintings using two types of content: human subjects and scenes of nature. Participants, untutored in the arts, were shown the stimuli and asked to make aesthetic judgments. Additionally, they were instructed to observe the paintings and to rate their perceived movement in separate blocks. Observation highlighted spontaneous processes associated with aesthetic experience, whereas movement judgment outlined activations specifically related to movement processing. The ratings recorded during aesthetic judgment revealed that nature scenes received higher scored than human content paintings. The imaging data showed similar activation, relative to baseline, for all stimuli in the three tasks, including activation of occipito-temporal areas, posterior parietal, and premotor cortices. Contrast analyses within aesthetic judgment task showed that human content activated, relative to nature, precuneus, fusiform gyrus, and posterior temporal areas, whose activation was prominent for dynamic human paintings. In contrast, nature scenes activated, relative to human stimuli, occipital and posterior parietal cortex/precuneus, involved in visuospatial exploration and pragmatic coding of movement, as well as central insula. Static nature paintings further activated, relative to dynamic nature stimuli, central and posterior insula. Besides insular activation, which was specific for aesthetic judgment, we found a large overlap in the activation pattern characterizing each stimulus dimension (content and dynamism) across observation, aesthetic judgment, and movement judgment tasks. These findings support the idea that the aesthetic evaluation of artworks depicting both human subjects and nature scenes involves a motor component, and that the associated neural processes occur quite spontaneously in the viewer. Furthermore, considering the functional roles of posterior and central insula, we suggest that nature paintings may evoke aesthetic processes requiring an additional proprioceptive and sensori-motor component implemented by “motor accessibility” to the represented scenario, which is needed to judge the aesthetic value of the observed painting.

Children's incipient ability to distinguish mistakes from lies: An Italian investigation

We report a study in which Italian children aged 3 to 5 years were given situations requiring a distinction between lies and honest mistakes. As in previous research, the children displayed an incipient grasp of the lie-mistake distinction with regard to situations involving falsehoods about edibility of a substance that had been contaminated. However, children of all ages often regarded instances of both lies and mistakes as negative rather than restricting their judgements of naughtiness to the lying alone. The results are discussed in terms of the characteristics of Italian language and culture such as the connotations of words used to indicate “mistakes” and references to anger in labelling a variety of emotional events.

Visual exploration patterns of human figures in action: an eye tracker study with art paintings.

Art exploration is a complex process conditioned by factors at different levels and includes both basic visual principles and complex cognitive factors. The human figure is considered a critical factor attracting the attention in art painting. Using an eye-tracking methodology, the goal of this study was to explore different elements of the human figure performing an action (face and body parts in action) in complex social scenes characterized by different levels of social interaction between agents depicted in scenes (individual vs. social). The sample included 44 laypersons, and the stimuli consisted of 10 fine art paintings representing the figurative style of classical art. The results revealed different scanning patterns of the human figure elements related to the level of social interaction of agents depicted in the scene. The agents’ face attracted eye movements in social interaction scenes while the agents’ body parts attracted eye movements only when the agents were involved in individual actions. These processes were confirmed specifically in participants with high empathic abilities who became immediately fixated on faces to develop a mimetic engagement with other agents. Future studies integrating other measures would help confirm the results obtained and strengthen their implication for embodiment processes.

The Effect of Simple Melodic Lines on Aesthetic Experience: Brain Response to Structural Manipulations

This fMRI study investigates the effect of melody on aesthetic experience in listeners naive to formal musical knowledge. Using simple melodic lines, whose syntactic structure was manipulated, we created systematic acoustic dissonance. Two stimulus categories were created: canonical (syntactically “correct,” in the Western culture) and modified (made of an altered version of the canonical melodies). The stimuli were presented under two tasks: listening and aesthetic judgment. Data were analyzed as a function of stimulus structure (canonical and modified) and stimulus aesthetics, as appraised by each participant during scanning. The critical contrast modified versus canonical stimuli produced enhanced activation of deep temporal regions, including the parahippocampus, suggesting that melody manipulation induced feelings of unpleasantness in the listeners. This was supported by our behavioral data indicating decreased aesthetic preference for the modified melodies. Medial temporal activation could also have been evoked by stimulus structural novelty determining increased memory load for the modified stimuli. The analysis of melodies judged as beautiful revealed that aesthetic judgment of simple melodies relied on a fine-structural analysis of the stimuli subserved by a left frontal activation and, possibly, on meaning attribution at the charge of right superior temporal sulcus for increasingly pleasurable stimuli.

Body Aesthetic Preference in Preschoolers and Attraction to Canons Violation: An Exploratory Study

Sensitivity to canons of beauty as represented in the human body—and as typically defined in the Western Culture—has been poorly studied in children. Current literature shows that infants as young as about three months are sensitive to the human body structure and its parts. Using a sample of 54 three- to five-year-old children, the present study investigated preference for drawings representing the “canonical” body structure, contrasting these with drawings showing the same bodies, but where the relation between trunk and legs was modified. It was hypothesized that preference for the canonical body structures would emerge as early as three years, increasing with age. Results only partially supported the hypothesis: while three-year-olds showed a significant preference for the canonical body structures as predicted, a significant preference reversal was found for the four-year-olds, with a tendency to return to preferring the canonical body at five years. The results are discussed in light of research findings associated with developmental theories hallmarking visual art perception in children.

Contributo alla validazione italiana del Nuovo Test Estetico di Lindauer

Il presente studio vuole offrire un contributo alla validazione della versione italiana del Nuovo Test Estetico proposto da Lindauer nel 1985 adattato da Dogana et al. (1999, 2002). Il costrutto che misura e quello della sensibilita estetica, ovvero il tratto di personalita con le sue declinazioni cognitive, esperienziali e comportamentali che porta le persone esteticamente sensibili a mostrare un profondo interesse per la bellezza nelle sue varie forme e una vivida vita immaginativa. Il questionario adattato da Dogana et al. (1999, 2002) nella versione a 25 item era stato testato su un numero ridotto di adolescenti (16-20 anni). Somministrandolo a un campione di 1046 soggetti, dai 15 ai 50 anni equamente distribuiti per genere, e stato possibile testarne la struttura fattoriale attraverso un’analisi fattoriale esplorativa e confermativa. Lo strumento si e dimostrato valido e affidabile, inoltre ha permesso di valutare differenze di genere (la sensibilita estetica si conferma a maggior appannaggio femminile) ed eta (questa dimensione personologica tende ad accentuarsi con la maturita).