Top

Gepubliceerd in:

03-08-2018 | Original Article

Beholders’ sensorimotor engagement enhances aesthetic rating of pictorial facial expressions of pain

Auteurs: Martina Ardizzi, F. Ferroni, F. Siri, M. A. Umiltà, A. Cotti, M. Calbi, E. Fadda, D. Freedberg, V. Gallese

Gepubliceerd in: Psychological Research | Uitgave 2/2020

Abstract

The present study addresses a novel issue by investigating whether beholders’ sensorimotor engagement with the emotional content of works of art contributes to the formation of their objective aesthetic judgment of beauty. To this purpose, participants’ sensorimotor engagement was modulated by asking them to overtly contract the Corrugator Supercilii facial muscles or to refrain from any voluntary facial movement while judging the aesthetic value of painful and neutral facial expressions in select examples of Renaissance and Baroque paintings. Results demonstrated a specific increase in the aesthetic rating of paintings showing painful facial expressions during the congruent activation of the Corrugator Supercilii muscles. Furthermore, participants’ empathetic traits and expertise in art were found to correlate directly with the amplitude of the motor enactment effect on aesthetic judgments. For the first time, we show the role of bottom–up bodily driven sensorimotor processes in the objective aesthetic evaluation of works of art.

vorige artikel Performance-informed EEG analysis reveals mixed evidence for EEG signatures unique to the processing of time

volgende artikel Modality compatibility biases voluntary choice of response modality in task switching

Alleen toegankelijk voor geautoriseerde gebruikers

Bagby, R., Parker, J., & Taylor, G. (1994). The twenty-item Toronto Alexithymia Scale—I. Item selection and cross-validation of the factor structure. Journal of Psychosomatic Research, 38(1), 23–32.CrossRef

Battaglia, F., Lisanby, S. H., & Freedberg, D. (2011). Corticomotor excitability during observation and imagination of a work of art. Frontiers in Human Neuroscience, 5(August), 79. https://doi.org/10.3389/fnhum.2011.00079.CrossRefPubMedPubMedCentral

Botvinick, M., Jha, A. P., Bylsma, L. M., Fabian, S., Solomon, P. E., & Prkachin, K. M. (2005). Viewing facial expressions of pain engages cortical areas involved in the direct experience of pain. NeuroImage, 25(1), 312–319. https://doi.org/10.1016/j.neuroimage.2004.11.043.CrossRefPubMed

Budell, L., Jackson, P., & Rainville, P. (2010). Brain responses to facial expressions of pain: Emotional or motor mirroring? NeuroImage, 53(1), 355–363. https://doi.org/10.1016/j.neuroimage.2010.05.037.CrossRefPubMed

Chatterjee, A., & Vartanian, O. (2014). Neuroaesthetics. Trends in Cognitive Sciences, 18(7), 370–375. https://doi.org/10.1016/j.tics.2014.03.003.CrossRefPubMed

Chatterjee, A., Widick, P., Sternschein, R., Smith, W. B., & Bromberger, B. (2010). The assessment of art attributes. Empirical Studies of the Arts, 28(2), 207–222. https://doi.org/10.2190/EM.28.2.f.CrossRef

Cotter, K. N., Silvia, P. J., Bertamini, M., Palumbo, L., & Vartanian, O. (2017). Curve appeal: Exploring individual differences in preference for curved versus angular objects. i-Perception, 8(2), 1–17. https://doi.org/10.1177/2041669517693023.CrossRef

Currie, G. (2011). Empathy for objects. In A. Coplan & P. Goldie (Eds.), Empathy: Philosophical and psychological perspectives (pp. 82–97). Oxford: Oxford University Press.CrossRef

Davis, M. (1980). A multidimensional approach to individual differences in empathy. JSAS Catalog of Selected Documents in Psychology, 10, 85.

Di Dio, C., Ardizzi, M., Massaro, D., Di Cesare, G., Gilli, G., Marchetti, A., & Gallese, V. (2016). Human, nature, dynamism: The effects of content and movement perception on brain activations during the aesthetic judgment of representational paintings. Frontiers in Human Neuroscience, 9(January), 1–19. https://doi.org/10.3389/fnhum.2015.00705.CrossRef

Else, J. E., Ellis, J., & Orme, E. (2015). Art expertise modulates the emotional response to modern art, especially abstract: An ERP investigation. Frontiers in Human Neuroscience, 9(September), 1–18. https://doi.org/10.3389/fnhum.2015.00525.CrossRef

Eskine, K. J., Kacinik, N. A., & Prinz, J. J. (2012). Stirring images: Fear, not happiness or arousal, makes art more sublime. Emotion, 12(5), 1071–1074. https://doi.org/10.1037/a0027200.CrossRefPubMed

Fridlund, A. J., & Cacioppo, J. T. (1986). Guidelines for human electromyographic research. Psychophysiology, 23(5), 567–589.CrossRef

Fingerhut, J., & Prinz, J. J. (2018). Wonder, appreciation, and the value of art. In Progress in brain research (Vol. 237, pp. 107–128). https://doi.org/10.1016/bs.pbr.2018.03.004.

Freedberg, D. (2014). Feelings on faces. From physiognomics to neuroscience. In S. Denham, I. Kacandas & J. Petropoulos (Eds.), Rethinking emotion: Interiority and exteriority in premodern, modern, and contemporary thought (pp. 289–324). Berlin: De Gruyter.

Freedberg, D., & Gallese, V. (2007). Motion, emotion and empathy in esthetic experience. Trends in Cognitive Sciences, 11(5), 197–203. https://doi.org/10.1016/j.tics.2007.02.003.CrossRefPubMed

Gallese, V. (2014). Bodily selves in relation: Embodied simulation as second-person perspective on intersubjectivity Bodily selves in relation: Embodied simulation as second-person perspective on intersubjectivity. Philosophical Transactions of the Royal Society B, 369, 20130177.CrossRef

Gernot, G., Pelowski, M., & Leder, H. (2017). Empathy, Einfühlung, and aesthetic experience: The effect of emotion contagion on appreciation of representational and abstract art using fEMG and SCR. Cognitive Processing, 19(2), 1–19. https://doi.org/10.1007/s10339-017-0800-2.CrossRef

Hyniewska, S., & Sato, W. (2015). Facial feedback affects valence judgments of dynamic and static emotional expressions. Frontiers in Psychology, 6(MAR), 1–7. https://doi.org/10.3389/fpsyg.2015.00291.CrossRef

Ipser, A., & Cook, R. (2016). Inducing a concurrent motor load reduces categorization precision for facial expressions. Journal of Experimental Psychology: Human Perception and Performance, 42(5), 706–718. https://doi.org/10.1037/xhp0000177.CrossRefPubMed

Kirk, U., Skov, M., Christensen, M. S., & Nygaard, N. (2009). Brain correlates of aesthetic expertise: A parametric fMRI study. Brain and Cognition, 69(2), 306–315. https://doi.org/10.1016/j.bandc.2008.08.004.CrossRefPubMed

Koide, N., Kubo, T., Nishida, S., Shibata, T., & Ikeda, K. (2015). Art expertise reduces influence of visual salience on fixation in viewing abstract-paintings. PLoS ONE, 10(2), 1–14. https://doi.org/10.1371/journal.pone.0117696.CrossRef

Langfeld, H. (1920). The aesthetic attitude. New York: Harcourt, Brace and Company.CrossRef

Leder, H., Bär, S., & Topolinski, S. (2012). Covert painting simulations influence aesthetic appreciation of artworks. Psychological Science, 23(12), 1479–1481. https://doi.org/10.1177/0956797612452866.CrossRefPubMed

Leder, H., Gerger, G., Brieber, D., & Schwarz, N. (2014). What makes an art expert? Emotion and evaluation in art appreciation. Cognition & emotion, 28(6), 1137–1147. https://doi.org/10.1080/02699931.2013.870132.CrossRef

Leder, H., Gerger, G., Dressler, S. G., & Schabmann, A. (2012). How art is appreciated. Psychology of Aesthetics, Creativity, and the Arts, 6(1), 2–10. https://doi.org/10.1037/a0026396.CrossRef

Leder, H., & Schwarz, N. (2017). Does art expertise facilitate distancing? Behavioral and Brain Sciences, 40, e370. https://doi.org/10.1017/S0140525X17001789.CrossRefPubMed

Lee, V. (1913). The beautiful: An introduction to psychological aesthetics. Cambridge: Cambridge University Press.CrossRef

Lewis, M. B., & Dunn, E. (2017). Instructions to mimic improve facial emotion recognition in people with sub-clinical autism traits. Quarterly Journal of Experimental Psychology, 70(11), 2357–2370. https://doi.org/10.1080/17470218.2016.1238950.CrossRef

Lipps, T. (1903). Asthetik: Psychologie des Schönen und der Kunst. Hamburg: Leopold Voss Verlag.

Lobmaier, J. S., & Fischer, M. H. (2015). Facial feedback affects perceived intensity but not quality of emotional expressions. Brain Sciences, 5(3), 357–368. https://doi.org/10.3390/brainsci5030357.CrossRefPubMedPubMedCentral

McLean, C., Want, S. C., & Dyson, B. J. (2015). The role of similarity, sound and awareness in the appreciation of visual artwork via motor simulation. Cognition, 137, 174–181. https://doi.org/10.1016/j.cognition.2015.01.002.CrossRefPubMed

Meneghini, A. M., Sartori, R., & Cunico, L. (2012). Adattamento italiano della Balanced Emotional Empathy Scale (BEES) di Albert Mehrabian [The Italian adaptation of the Balanced Emotional Empathy Scale (BEES) by Albert Mehrabian]. Florence: (G. O. Speciali, Ed.).

Oberman, L. M., Winkielman, P., & Ramachandran, V. S. (2007). Face to face: Blocking facial mimicry can selectively impair recognition of emotional expressions. Social Neuroscience, 2(3–4), 167–178. https://doi.org/10.1080/17470910701391943.CrossRefPubMed

Pang, C. Y., Nadal, M., Müller-Paul, J. S., Rosenberg, R., & Klein, C. (2013). Electrophysiological correlates of looking at paintings and its association with art expertise. Biological Psychology, 93(1), 246–254. https://doi.org/10.1016/j.biopsycho.2012.10.013.CrossRefPubMed

Pearce, M. T., Zaidel, D. W., Vartanian, O., Skov, M., Leder, H., Chatterjee, A., & Nadal, M. (2016). Neuroaesthetics: The cognitive neuroscience of aesthetic experience. Perspectives on Psychological Science, 11(2), 265–279. https://doi.org/10.1177/1745691615621274.CrossRefPubMed

Pelowski, M., Markey, P. S., Forster, M., Gerger, G., & Leder, H. (2017). 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. Physics of Life Reviews, 21, 80–125. https://doi.org/10.1016/j.plrev.2017.02.003.CrossRefPubMed

Pelowski, M., Markey, P. S., Lauring, J. O., & Leder, H. (2016). Visualizing the impact of art: An update and comparison of current psychological models of art experience. Frontiers in Human Neuroscience, 10(April), 1–21. https://doi.org/10.3389/fnhum.2016.00160.CrossRef

Ponari, M., Conson, M., D’Amico, N. P., Grossi, D., & Trojano, L. (2012). Mapping correspondence between facial mimicry and emotion recognition in healthy subjects. Emotion, 12(6), 1398–1403. https://doi.org/10.1037/a0028588.CrossRefPubMed

Prkachin, K. M., & Solomon, P. E. (2008). The structure, reliability and validity of pain expression: Evidence from patients with shoulder pain. PAIN, 139(2), 267–274. https://doi.org/10.1016/J.PAIN.2008.04.010.CrossRefPubMed

Saarela, M. V., Hlushchuk, Y., Williams, A. C. D. C., Schϋrmann, M., Kalso, E., & Hari, R. (2007). The compassionate brain: Humans detect intensity of pain from another’s face. Cerebral Cortex, 17(1), 230–237. https://doi.org/10.1093/cercor/bhj141.CrossRefPubMed

Sbriscia-Fioretti, B., Berchio, C., Freedberg, D., Gallese, V., & Umiltà, A. (2013). ERP modulation during observation of abstract paintings by Franz Kline. PLoS One, 8(10), e75241. https://doi.org/10.1371/journal.pone.0075241.CrossRefPubMedPubMedCentral

Schneider, K. G., Hempel, R. J., & Lynch, T. R. (2013). That “poker face” just might lose you the game! The impact of expressive suppression and mimicry on sensitivity to facial expressions of emotion. Emotion, 13(5), 852–866. https://doi.org/10.1037/a0032847.CrossRefPubMed

Schott, G. D. (2015). Pictures of pain: Their contribution to the neuroscience of empathy Art and empathy: Two. Brain, 138(3), 1–9. https://doi.org/10.1093/brain/awu395.CrossRef

Silvia, P. J., & Nusbaum, E. C. (2011). On personality and piloerection: Individual differences in aesthetic chills and other unusual aesthetic experiences. Psychology of Aesthetics, Creativity, and the Arts, 5(3), 208–214. https://doi.org/10.1037/a0021914.CrossRef

Siri, F., Ferroni, F., Ardizzi, M., Kolesnikova, A., Beccaria, M., Rocci, B., et al. (2018). Behavioral and autonomic responses to real and digital reproductions of works of art. Progress in Brain Research, 237, 201–221. https://doi.org/10.1016/BS.PBR.2018.03.020.CrossRefPubMed

Sullivan, M. J. L., Bishop, S. R., & Pivik, J. (1995). The pain catastrophizing scale: Development and validation. Psychological Assessment, 7(4), 524–532. https://doi.org/10.1037/1040-3590.7.4.524.CrossRef

Sun, Y.-B., Wang, Y.-Z., Wang, J.-Y., & Luo, F. (2015). Emotional mimicry signals pain empathy as evidenced by facial electromyography. Scientific Reports, 5(1), 16988. https://doi.org/10.1038/srep16988.CrossRefPubMedPubMedCentral

Taylor, J. E. T., Witt, J. K., & Grimaldi, P. J. (2012). Uncovering the connection between artist and audience: Viewing painted brushstrokes evokes corresponding action representations in the observer. Cognition, 125(1), 26–36. https://doi.org/10.1016/j.cognition.2012.06.012.CrossRefPubMed

Thakral, P. P., Moo, L. R., & Slotnick, S. D. (2012). A neural mechanism for aesthetic experience. NeuroReport, 23(5), 310–313. https://doi.org/10.1097/WNR.0b013e328351759f.CrossRefPubMed

Ticini, L. F., Rachman, L., Pelletier, J., & Dubal, S. (2014). Enhancing aesthetic appreciation by priming canvases with actions that match the artist’s painting style. Frontiers in Human Neuroscience, 8(June), 1–6. https://doi.org/10.3389/fnhum.2014.00391.CrossRef

Umiltà, M. A., Berchio, C., Sestito, M., Freedberg, D., & Gallese, V. (2012). Abstract art and cortical motor activation: An EEG study. Frontiers in Human Neuroscience, 6(November), 311. https://doi.org/10.3389/fnhum.2012.00311.CrossRefPubMedPubMedCentral

Van Paasschen, J., Bacci, F., & Melcher, D. P. (2015). The influence of art expertise and training on emotion and preference ratings for representational and abstract artworks. PLoS ONE, 10(8), 1–21. https://doi.org/10.1371/journal.pone.0134241.CrossRef

Vischer, R. (1873). Über das optische Formgefühl. Ein Beitrag zur Ästhetik. Leipzig: Herman Credner [English edition: On the optical sense of form: a contribution to aesthetics. In H. F Mallgrave & E. Ikonomou (Eds.) (1994). Empathy, form, and space: problems in german aesthetics, 1873–1893 (pp 89–123). Santa Monica, California: Getty Center for the History of Art and the Humanities].

Wicker, B., Keysers, C., Plailly, J., Royet, J. P., Gallese, V., & Rizzolatti, G. (2003). Both of us disgusted in My insula: The common neural basis of seeing and feeling disgust. Neuron, 40(3), 655–664.CrossRef

Witmer, B. G., & Singer, M. J. (1998). Measuring presence in virtual environments: A presence questionnaire. Presence, 7(3), 225–240.CrossRef

Titel: Beholders’ sensorimotor engagement enhances aesthetic rating of pictorial facial expressions of pain
Auteurs: Martina Ardizzi
F. Ferroni
F. Siri
M. A. Umiltà
A. Cotti
M. Calbi
E. Fadda
D. Freedberg
V. Gallese
Publicatiedatum: 03-08-2018
Uitgeverij: Springer Berlin Heidelberg
Gepubliceerd in: Psychological Research / Uitgave 2/2020
Print ISSN: 0340-0727
Elektronisch ISSN: 1430-2772
DOI: https://doi.org/10.1007/s00426-018-1067-7

Bohn Stafleu van Loghum

Deel dit onderdeel of sectie (kopieer de link)

Abstract

Log in om toegang te krijgen

Andere artikelen Uitgave 2/2020

Quantifying insightful problem solving: a modified compound remote associates paradigm using lexical priming to parametrically modulate different sources of task difficulty

Volitional media multitasking: awareness of performance costs and modulation of media multitasking as a function of task demand

Green as a cbemcuru: modal as well as amodal color cues can help to solve anagrams

The effects of attentional focus in the preparation and execution of a standing long jump

Performance-informed EEG analysis reveals mixed evidence for EEG signatures unique to the processing of time

Individual differences in processing resources modulate bimanual interference in pointing