Unit 6 LAB: PBL in Neuroaesthetics Case Study: Strategizing the Use of Relevant Research Methods

Abstract

In this laboratory, we will apply Problem-Based Learning (PBL) techniques to focus on understanding the relevance and appropriateness of neuroaesthetics research methods. A series of tasks, about PBL in Neuroaesthetics. You will find relevant information necessary for giving your own reasoned answers to the questions:

What is Neuroaesthetics?

What does Neuroaesthetics do?

Why study Neuroaesthetics?

How will we put into practice what we have learned/what we will learn in this discipline?

In this laboratory, we will apply Problem-Based Learning (PBL) techniques to focus on understanding the relevance and appropriateness of neuroaesthetics research methods. A series of tasks is to be followed as indicated below.

FormalPara Task 1:

Preliminary discussion

Please find relevant information necessary for giving your own reasoned answers to the questions:

• What is Neuroaesthetics?

• What does Neuroaesthetics do?

• Why study Neuroaesthetics?

• How will we put into practice what we have learned/what we will learn in this discipline?

The concept of ´Neuroaesthetics` was coined in 1999 by the neuroscientist Semir Zeki, who is a professor at the Wellcome Department of Imaging Neuroscience, University College, London. This field is relatively new and combines cognitive psychology, neurobiology, and art to explore how the brain reacts to aesthetic stimuli (Chatterjee, 2011).

V.S. Ramachandran, a professor of neurobiology at the Center for Brain and Cognition at the University of California, San Diego, is also considered one of the pioneers of our field. Professor Ramachandran proposed Eight Laws of Artistic Experience which represents a set of principles, that describe how our brains process and respond to art (Ramachandran & Hirstein, 1999). The eight laws are as follows:

• I. Symmetry: The brain responds more strongly to symmetrical and balanced compositions.

• II. Contrast: The brain responds more strongly to contrasts, such as light and dark or rough and smooth textures.

• III. Peak shift effect: The human brain responds more strongly to exaggerated or caricatured features than to realistic ones.

• IV. Grouping: The components of a composition often get organized by the brain into larger units or patterns.

• V. Isolation: The distinct aspects of a composition often catch the attention of the brain.

• VI. Perceptual problem solving: The perceptual obstacles or puzzles given in a piece of art are enjoyable for the brain to solve.

• VII. Abhorrence of coincidences: The brain tends to interpret coincidences or chance events in a composition as deliberate, and may find them aesthetically displeasing.

• VIII. Orderliness: The brain responds positively to patterns, symmetry, and orderliness in a composition.

These laws reflect Ramachandran's belief that the human brain has evolved to appreciate and seek out certain features in art, and that artists can intentionally or unintentionally tap into these features to create more engaging and impactful works of art. However, it's important to note that not all artists or works of art adhere to these laws, and that different people may have different aesthetic preferences and responses to art.

Ramachandran suggests that art typically involves an amplification or exaggeration of reality. For example, Venus of Willendorf (Present location—Natural History Museum in Vienna, Austria.) and Indian female temple sculptures (literally ‘celestial beauty’), a Surasundari at a Khajuraho temple. As well as Caricature of Aubrey Beardsley by Max Beerbohm (1896), taken from Caricatures of Twenty-five Gentlemen. Ramachandran has termed this amplification the ‘peak shift effect’, and he has observed similar mechanisms at play in the animal kingdom (Ramachandran & Hirstein, 1998). There was an intriguing experiment conducted on seagulls and their feeding habits. The seagull's beak, which is typically yellow, has a red stripe that the chicks peck at when they want to be fed. Ramachandran states that training an individual to respond to a specific stimulus will result in a preference for an amplified or exaggerated version of that same stimulus.

FormalPara Task 2:

Form 4 groups. Within each group, discuss among yourselves how the information studied in Task 1 relates to the information you have learned during the entire course. As a group, answer the following questions (choose a spokesperson):

• 1. What is the role of Neuroaesthetics?

• 2. What concepts are involved in neuroaesthetics studies?

• 3. What are the advantages and disadvantages of using Neuroaesthetics methods?

• 4. Why should one study Neuroaesthetics?

• 5. What are the similarities and differences between Aesthetics and Neuroaesthetics?

FormalPara Task 3:

Create a map of concepts employed in Neuroaesthetics and the relations that may exist between them. Remember: you can use this map in your exam! Before signing off, have a look at the final page for information about your course evaluation!

A map of concepts is a visual representation of the relationships between different concepts within a specific field or domain of knowledge. It can also be referred to as a concept map, a knowledge map, or a semantic network. Typically, the map is made up of nodes, which stand in for distinct concepts, and lines or arrows, which show the connections between those concepts.

Concept maps can be used in a range of sectors, such as science, education, and business, to organize and display knowledge. As they can assist students in organizing and connecting their grasp of various concepts within a subject, they are frequently employed as a tool for learning.

In research, concept maps are also used to show the connections between various ideas and to spot regions of overlap or knowledge gaps. They can be used to investigate the relationships between various ideas or concepts or to assess the organization of a certain topic of study.

Overall, a map of concepts is a useful tool for categorizing and presenting knowledge because it makes complicated ideas and relationships easier to understand and comprehend.

FormalPara Task 4:

Focus on the techniques used in neuroaesthetics as you read the text and examine the images below:

See Figs. 1 and 2

Fig. 1

Landscape 1—© Ema Motrescu

Fig. 2

Landscape 2—© Ema Motrescu

Methods in Neuroaesthetics

• I. Electroencephalography (EEG) is a technique used to monitor brain waves known as event-related potentials (ERPs). It is possible to explore the temporal dynamics of cerebral processing of aesthetic stimuli by recording these brainwaves.

• II. Eye tracking: The measurement of eye movements during aesthetic experiences is conducted using a technique known as eye tracking. By measuring where people look while viewing art or other aesthetic stimuli, researchers can investigate how different aspects of the stimuli capture attention (Fig. 3).

  Fig. 3

  

  https://www.slrlounge.com/canons-obsession-experiment-see-average-person-vs-pro-views-image-details/

• III. Behavioural experiments: Participants in behavioural experiments are rated on how they feel about various aesthetic cues. Researchers can examine how various aspects of the stimuli affect aesthetic preferences by examining these ratings. These are only a few of the numerous techniques employed in neuroaesthetics. Researchers frequently combine methodologies to look into various facets of aesthetic experiences as each method has advantages and disadvantages.

Research question: What effects does the presence or absence of man-made things in a scene have on people's aesthetic preferences for landscapes?

Method

Participants: A group of participants who have interest in photography, landscapes, or nature scenes.

Stimuli: A series of landscape pictures, some with and some without human-made structures such as a cabin or a fence.

Procedure: A Likert scale from 1 (strongly dislike) to 7 (strongly like) will be used by participants to judge the aesthetic preference of the images after viewing them in a random order. Participants will also score the scenes' apparent naturalness, serenity, and beauty.

Data analysis: The average ratings for each image will be computed and compared for the conditions with and without human-made objects. The relationship between the perceptions of beauty, tranquillity, and naturalness and aesthetic preference ratings will be investigated by a correlation analysis.

Expected results: It is expected that participants will rate photographs with human-made objects as less aesthetically pleasing, less beautiful, less tranquil, and less natural than those without human-made objects. The correlation analysis may reveal that naturalness is the most significant factor influencing aesthetic preferences in winter landscape photography.

Conclusion: This behavioural study can help to understand how the presence of human-made objects in a landscape photograph influences people's aesthetic preferences. The results may have repercussions for landscape photographers hoping to capture visually appealing scenes as well as for those researching the psychology of aesthetic experiences.

Predictive Processing (PP)

See Figs. 4 and 5

Fig. 4

https://sites.google.com/view/artandaffectinpp/home

Fig. 5

https://neuroaesthetics.net/neuroaesthetics/

Task 5:

According to Ramachandran's Eight Laws of Artistic Experience (Task 1) take a series of 4 photographs corresponding to the following techniques:

Symmetry: The brain responds more strongly to symmetrical and balanced compositions.

• Find symmetrical objects: Students walk around and find objects that have symmetrical shapes or patterns. Then, they take pictures of those objects from a symmetrical perspective. It is encouraged to play around with the angle of the shot to create different compositions.

• Reflective surfaces: Reflective surfaces, like water, mirrors, and glass, can create interesting symmetrical compositions. It is asked to experiment with reflections by capturing a symmetrical image of the reflected object.

• Portrait symmetry: Take portraits of subjects using a symmetrical composition. This can involve positioning the subject in the centre of the frame, with the face or body evenly balanced on either side. Alternatively, they could use reflections or shadows to create symmetry in the composition.

• Symmetrical landscapes: It is encouraged to look for landscapes that have symmetrical features, such as mountains, trees, or buildings. Then, to achieve a balanced and harmonious composition, a photo must be taken from a symmetrical perspective.

• Editing symmetry: After the photographs have been taken, use different editing tools to experiment with the creation of symmetrical compositions. This could involve using mirroring techniques, or cutting and pasting parts of the image to create a symmetrical effect.

Neuroaesthetics finds art to be extremely valuable as it provides a visual representation of reality, which prompts artists to explore innovative methods to enhance this representation. This often involves applying perceptual shortcuts that the human brain cannot distinguish from actual reality, as noted by Zeki in 1999. For instance, incorporating a darker hue on one side of an object creates the illusion of a shadow. These optical illusions reveal unique characteristics of the visual system and provide insights into how visual information is processed.

Task 6:

According to Ramachandran's Eight Laws of Artistic Experience (Task 1) take a series of 4 photographs corresponding to the following techniques:

Contrast: The brain responds more strongly to contrasts, such as light and dark or rough and smooth textures.

• High contrast lighting: Start by experimenting with lighting that creates high contrast in the images. This could involve using a strong directional light source, like the sun or a spotlight, to create stark contrasts between light and dark areas of the image.

• Contrasting textures: Look for objects or scenes that have contrasting textures, such as rough and smooth, soft and hard, or matte and glossy. Then, take pictures that emphasize these contrasts, making sure to capture the texture in a way that is visually compelling.

• Black and white photography: Black and white photography is an accurate way to learn about contrast, as it eliminates the distraction of colour and allows students to focus on the interplay between light and dark.

• Colour contrast: Although contrast is often associated with black and white photography, colour can also be used to create contrast in an image. Find colour contrast by looking for scenes or objects that have complementary or contrasting colours.

• Editing for contrast: After the photos have been taken, use editing tools to experiment with to enhancement of the contrast in the images. This could involve adjusting the brightness and contrast settings, or using selective editing tools to emphasize specific areas of the image (Fig. 6).

  Fig. 6

  

  Examples of contrasts

Left example: intensity of contrast between the two squares.

Centre: example of size contrast between the two squares.

Right: example of position contrast between the two squares (inside versus outside).

Task 7:

According to Ramachandran's Eight Laws of Artistic Experience (Task 1) take a series of 4 pictures using the approaches listed below:

• Isolation: The technique of using separating a topic from its surroundings and emphasizing it through composition. This is often accomplished by arranging the subject in a way that provides a striking contrast with its surroundings, or by employing a shallow depth of field to blur the backdrop or foreground.

• Shallow depth of field: If you want to separate a subject from its surroundings, use a shallow depth of field. To focus on a small portion of the scene while blurring the backdrop or foreground, use a wide aperture (f/2.8 or f/1.8).

• Contrast: Find things that stand out from their surroundings, such as a flower with a bright colour against a dark background or a person wearing a bold colour against a plain background. Then, play around with various compositions to highlight the contrast and focus on the subject.

• Positioning: Put the topic in a position that clearly separates it from the background. In order to achieve this, the subject may be set against a plain, uncluttered background or the viewer's attention might be drawn to the subject by employing leading lines or shapes.

• Still life: Create a still life composition using a single object as the subject. Choose different lighting and positioning techniques to isolate the object and create a sense of focus.

• Editing: After the photos have been taken, use editing tools to experiment to further enhance the isolation effect. This could involve selectively blurring the background or foreground, or using cropping and resizing tools to emphasize the subject (Figs. 7 and 8).

  Fig. 7

  

  Example of isolation. © Ema Motrescu

  Fig. 8

  

  Example of shallow depth of field. © Ema Motrescu

Task 8:

According to Ramachandran's Eight Laws of Artistic Experience (Task 1) take a series of 4 photographs corresponding to the following techniques:

Peak shift effect: The human brain responds more strongly to exaggerated or caricatured features than to realistic ones.

Comparing images with similar but different subjects: Compare the two images that have similar subjects, but one image has a more dominant or exaggerated feature. For example, a portrait of two people, where one person's eyes are bigger than the other's. Identify which one they find more striking or memorable. This exercise helps to understand how the peak shift principle works by exaggerating the dominant features to create a more impactful image.

Creating a contrast matrix: Compare this to the square grid, where each square has a different level of contrast. Find the squares on the grid that stand out the most via observation. By boosting contrast to produce a more dynamic image, this exercise demonstrates how the peak shift concept operates.

Adjusting composition: By zooming in or cropping a photo, you can alter the composition by focusing on particular aspects. Determine which photo has more visual impact by contrasting it with the unaltered version. By highlighting specific parts in the composition to produce a more impactful image, this exercise aids in understanding how the peak shift principle operates.

Experimenting with colour: To emphasize or minimize a particular colour, adjust the colour levels. Compare the original and the modified image to determine which one has the greater visual effect. By boosting or lowering particular hues to create a more colourful or muted image, this activity explains the peak shift principle.

Task 9:

According to Ramachandran's Eight Laws of Artistic Experience (Task 1) take a series of 4 photographs corresponding to the following techniques:

Grouping: It represents a concept in photography theory that refers to how elements in an image are viewed in relation to one another. It involves the arrangement of visual components in a way that fosters coherence and unity and enables the spectator to comprehend the composition quickly and simply (Fig. 9).

Fig. 9

Example of grouping

On the left and centre, the figure is observed to be the letter B.

On the right, the centre figure is viewed as the number 13.

In the centre the figure is shown on its own.

The concept of grouping can be broken down into several sub-principles, including:

Proximity: Objects that are located near each other in physical space are interpreted as a collective group (Fig. 10).

Fig. 10

Example of grouping by proximity

In the left figure, the matrix of dots is perceived as being composed of rows while the matrix of dots on the right is perceived as being composed of columns.

Similarity: Similar visual characteristics, such as form, colour, or texture, cause objects to be viewed as one cohesive group (Fig. 11).

Fig. 11

Example of grouping by similarity

Left—grouping by similarity of shape.

Centre—example of grouping by similarity of colour.

Right—example of grouping by similarity overwhelming the perception of grouping by shape.

Continuation: A set of elements is perceived as a group when they are arranged in a way that suggests continuation or flow, such as lines or patterns (Fig. 12).

Fig. 12

Example of grouping by continuity

Closure: When elements are placed in a way that makes a closed shape, the mind fills in the blanks to produce a complete shape or form, and these elements are regarded as a group (Fig. 13).

Fig. 13

Example of grouping

Left—an example of grouping by common fate. Items moving on similar paths are grouped into units.

Right—The parentheses could be grouped by proximity to produce hourglass shape figures.

The elements of a picture can be grouped in a way that makes the composition clear to the observer by employing these grouping sub-principles. An effective shot can be produced by using grouping in the right way.

Grouping by proximity: To establish a sense of grouping by closeness, analyse the photographs that contain numerous subjects and experiment with various placements and arrangements.

Grouping by similarity: To generate a sense of grouping by resemblance, examine the photographs that have features in common, such as colour or texture, and experiment with different layouts.

Grouping by continuation: Analysis of photographs with several topics arranged in a way that suggests a continuation or flow, such as a line or a pattern, and experimentation with different arrangements to strengthen the feeling of continuation are steps in the grouping by continuation process.

Grouping by closure: Try different arrangements to strengthen the sense of closure based on images with several subjects grouped in a way that results in a closed shape or form.

Task 10:

According to Ramachandran's Eight Laws of Artistic Experience (Task 1) take a series of 3 photographs corresponding to the following techniques:

Perceptual problem solving: To solve issues pertaining to the development and interpretation of photos, it refers to the process of utilizing visual perception and knowledge of photography principles. It involves identifying visual challenges and finding creative solutions to overcome them.

Composition challenges: Re-compose some photographs in different ways, such as using different angles, adjusting the placement of the subject, or altering the framing. This exercise helps in developing the ability to identify visual challenges and find creative solutions to improve the composition.

Lighting challenges: Using the photographs with different lighting situations, such as low light, backlight, or harsh shadows, experiment with different camera settings to achieve a balanced or unbalanced exposure.

Motion challenges: Using the images with various types of motion, such as sports, cars, or water, take some photographs using different shutter speeds to achieve different motion effects, such as freezing motion or creating motion blur.

Task 11:

Using the knowledge about Natural Beauty in the Fibonacci Sequence and the Golden Ratio, the task is to take four photographs while following the given instructions.

• Choose a subject for your photo. It could be a landscape, a person, an object, or anything that catches your eye.

• Use the golden ratio to compose your photo. Imagine dividing the frame into three equal parts both vertically and horizontally, and positioning the subject at the intersection of one of these lines, or in close proximity to the lines themselves.

• Experiment with different angles, distances, and compositions to find the most effective way to incorporate the golden ratio into your photo.

• Take several photos using this technique, and compare the results. Analyse which composition looks the most visually pleasing and well-balanced.

• Repeat the exercise with different subjects and settings to further develop your skills in using the golden ratio as a compositional tool.

The Fibonacci sequence is a mathematical concept that is often used in art and design, including photography. This sequence of numbers follows a specific pattern where each number is the sum of the previous two: 0, 1, 1, 2, 3, 5, 8, 13, 21, 34, and so forth. The Fibonacci sequence and the Golden Ratio, a mathematical ratio that may be found in many natural and man-made objects, are closely related.

By positioning the subject or important parts in the composition at precise points in the frame, photographers can leverage the Fibonacci sequence and the Golden Ratio to produce visually beautiful compositions. The topic can be positioned, for instance, at the intersections of fictitious lines that divide the frame into thirds in accordance with the Fibonacci sequence.

The size and arrangement of various elements in an image, such as the border's width or the distance between other parts, can also be decided using the Fibonacci sequence. Photographers can create compositions that have a balanced and harmonious feel and that direct the viewer's attention to the important parts of the image by using the Fibonacci sequence and the Golden Ratio.

Even while using the Fibonacci sequence and the Golden Ratio in photography is not a rigid law, it is a useful guide that can aid photographers in making compositions that are more practical and aesthetically appealing (Figs. 14 and 15).

Fig. 14

© Ema Motrescu

Golden ratio in photography 1

Fig. 15

© Ema Motrescu

Example of Golden Ratio in Photography 2

Task 12:

Choose a theme or concept to explore. It could be anything from contrasting colours to different textures, patterns, or emotions. Then, take 4 diptychs.

• Take 8 pictures illustrating the theme or idea. A story or message should be presented through the use of aesthetically appealing images.

• Create a diptych with photo editing software. A diptych is only two pictures arranged next to each other, either vertically or horizontally, with a little space or overlap in between. You are free to use whichever program you are accustomed to, such as Canva or Lightroom.

• Try out various arrangements, such as mirroring one image or making one larger than the other.

• Consider how the two pictures function as a pair. Do they contrast one another or do they enhance one another? Compared to seeing the photographs separately, how does the diptych alter your perception of the images?

• Show your classmates your diptych and talk about how you approached the task and what you took away from it.

Diptych—Use of Metaphor

A diptych represents a compositional method in which two distinct images are arranged next to one another. The photos are typically placed in a frame or display that visually unites the two images and can be related thematically, intellectually, or graphically. When examining contrasts, comparisons, or links between two themes or viewpoints, diptychs are frequently employed as a technique. It can be a powerful approach to convey a message, emphasize a point, or provide the spectator with a special and unforgettable visual experience (Suler, 2013).

An illustrative metaphor is ‘the atom resembles a solar system’ (Clair, 2000). This metaphor draws a comparison between the atom and the solar system by highlighting how they share similar structural components. Specifically, the atom has a nucleus, much like the sun is the centre of the solar system. This metaphor represents a visual analogy between something that we have a mental image of (the solar system) and something that we may not (the atomic structure). Two identical pictures, side by side, with one obvious difference. It represents the perfect visual set up and punch line. For example, you can check Elliott Erwitt`s diptych (beach chairs), Cannes, France, 1975 (Figs. 16 and 17).

Fig. 16

© Ema Motrescu

Diptych 1

Fig. 17

© Ema Motrescu

Diptych 2