[1]
Ackerley, R. et al. 2014. Quantifying the sensory and emotional perception of touch: differences between glabrous and hairy skin. Frontiers in behavioral neuroscience. 8, (2014).
[2]
Augustin, M.D. et al. 2011. The neural time course of art perception: An ERP study on the processing of style versus content in art. Neuropsychologia. 49, 7 (Jun. 2011), 2071–2081. DOI:https://doi.org/10.1016/j.neuropsychologia.2011.03.038.
[3]
Auvray, M. and Spence, C. 2008. The multisensory perception of flavor. Consciousness and Cognition. 17, 3 (Sep. 2008), 1016–1031. DOI:https://doi.org/10.1016/j.concog.2007.06.005.
[4]
Aviezer, H. et al. 2012. Body cues, not facial expressions, discriminate between intense positive and negative emotions. Science. 338, 6111 (Nov. 2012), 1225–1229. DOI:https://doi.org/10.1126/science.1224313.
[5]
Bar, M. and Neta, M. 2006. Humans prefer curved visual objects. Psychological science. 17, 8 (Aug. 2006), 645–648. DOI:https://doi.org/10.1111/j.1467-9280.2006.01759.x.
[6]
Berlyne, D.E. 1970. Novelty, complexity, and hedonic value. Perception & Psychophysics. 8, 5 (Sep. 1970), 279–286. DOI:https://doi.org/10.3758/BF03212593.
[7]
Berlyne, D.E. 1974. Studies in the new experimental aesthetics: steps toward an objective psychology of aesthetic appreciation. Hemisphere Publishing.
[8]
Besson, M. and Faïta, F. 1995. An event-related potential (ERP) study of musical expectancy: Comparison of musicians with nonmusicians. Journal of experimental psychology: Human perception and performance. 21, 6 (1995), 1278–1296.
[9]
Birch, L. 1999. Development of food preferences. Annual review of nutrition. 19, 1 (1999), 41–62.
[10]
Bornstein, R.F. 1989. Exposure and affect: overview and meta-analysis of research, 1968-1987. Psychological bulletin. 106, 2 (1989), 265–289. DOI:https://doi.org/10.1037/0033-2909.106.2.265.
[11]
Calvo-Merino, B. 2004. Action observation and acquired motor skills: an fMRI study with expert dancers. Cerebral cortex. 15, 8 (Nov. 2004), 1243–1249.
[12]
Calvo-Merino, B. et al. 2010. Extrastriate body area underlies aesthetic evaluation of body stimuli. Experimental brain research. 204, 3 (Jul. 2010), 447–456. DOI:https://doi.org/10.1007/s00221-010-2283-6.
[13]
Calvo-Merino, B. et al. 2006. Seeing or doing? Influence of visual and motor familiarity in action observation. Current biology. 16, 19 (Oct. 2006), 1905–1910. DOI:https://doi.org/10.1016/j.cub.2006.07.065.
[14]
Calvo-Merino, B. et al. 2008. Towards a sensorimotor aesthetics of performing art. Consciousness and cognition. 17, 3 (Sep. 2008), 911–922. DOI:https://doi.org/10.1016/j.concog.2007.11.003.
[15]
Carbon, C.-C. 2010. The cycle of preference: Long-term dynamics of aesthetic appreciation. Acta Psychologica. 134, 2 (Jun. 2010), 233–244. DOI:https://doi.org/10.1016/j.actpsy.2010.02.004.
[16]
Castriota-Scanderberg, A. 2005. The appreciation of wine by sommeliers: a functional magnetic resonance study of sensory integration. NeuroImage. 25, 2 (2005), 570–578.
[17]
Checkosky, S.F. and Whitlock, D. 1973. Effects of pattern goodness on recognition time in a memory search task. Journal of experimental psychology. 100, 2 (1973), 341–348. DOI:https://doi.org/10.1037/h0035692.
[18]
Chrea, C. 2005. Semantic, typicality and odor representation: a cross-cultural study. Chemical senses. 30, 1 (Jan. 2005), 37–49. DOI:https://doi.org/10.1093/chemse/bjh255.
[19]
Cinzia, D.D. and Vittorio, G. 2009. Neuroaesthetics: a review. Current opinion in neurobiology. 19, 6 (Dec. 2009), 682–687. DOI:https://doi.org/10.1016/j.conb.2009.09.001.
[20]
Colin Martindale, Kathleen Moore and Jonathan Borkum 1990. Aesthetic Preference: Anomalous Findings for Berlyne’s Psychobiological Theory. The American Journal of Psychology. 103, 1 (1990), 53–80.
[21]
Cross, E. 2011. The impact of aesthetic evaluation and physical ability on dance perception. Frontiers in human neuroscience. 5, (2011). DOI:https://doi.org/10.3389/fnhum.2011.00102.
[22]
Dalziell, A.H. et al. 2013. Dance choreography is coordinated with song repertoire in a complex avian display. Current biology. 23, 12 (Jun. 2013), 1132–1135. DOI:https://doi.org/10.1016/j.cub.2013.05.018.
[23]
Daprati, E. et al. 2009. A dance to the music of time: aesthetically-relevant changes in body posture in performing art. PLoS ONE. 4, 3 (Mar. 2009). DOI:https://doi.org/10.1371/journal.pone.0005023.
[24]
Delon-Martin, C. et al. 2013. Perfumers’ expertise induces structural reorganization in olfactory brain regions. NeuroImage. 68, (Mar. 2013), 55–62. DOI:https://doi.org/10.1016/j.neuroimage.2012.11.044.
[25]
Di Dio, C. et al. 2007. The golden beauty: brain response to classical and renaissance sculptures. PLoS ONE. 2, 11 (Nov. 2007). DOI:https://doi.org/10.1371/journal.pone.0001201.
[26]
Djordjevic, J. et al. 2004. Odor-induced changes in taste perception. Experimental brain research. 159, 3 (Dec. 2004), 405–408. DOI:https://doi.org/10.1007/s00221-004-2103-y.
[27]
Evans, M. et al. 2009. Consumer behaviour. Wiley.
[28]
de Gelder, B. 2006. Towards the neurobiology of emotional body language. Nature reviews neuroscience. 7, 3 (Mar. 2006), 242–249. DOI:https://doi.org/10.1038/nrn1872.
[29]
Goldstein, E.B. 2002. Sensation and perception. Wadsworth-Thomson Learning.
[30]
Gombrich, E. H. 2002. Art and illusion: a study in the psychology of pictorial representation. Phaidon.
[31]
Hannon, E.E. et al. 2012. Familiarity overrides complexity in rhythm perception: A cross-cultural comparison of American and Turkish listeners. Journal of experimental psychology: Human perception and performance. 38, 3 (2012), 543–548.
[32]
Haugtvedt, C.P. et al. 2008. Handbook of consumer psychology. Lawrence Erlbaum.
[33]
Hurlbert, A.C. and Ling, Y. 2007. Biological components of sex differences in color preference. Current biology. 17, 16 (Aug. 2007), R623–R625. DOI:https://doi.org/10.1016/j.cub.2007.06.022.
[34]
Jacobsen, T. 2013. The Fine Arts, Neurology, and Neuroscience - New Discoveries and Changing Landscapes. The Fine Arts, Neurology, and Neuroscience - New Discoveries and Changing Landscapes. Elsevier. 159–168.
[35]
Jacobsen, T. and Hoefel, L. 2003. Descriptive and evaluative judgement processes: Behavioral and electrophysiological indices of processing symmetry and aesthetics. Cognitive, affective, & behavioral neuroscience. 3, 4 (2003).
[36]
Jacoby, L.L. et al. 1989. Becoming famous overnight: Limits on the ability to avoid unconscious influences of the past. Journal of personality and social psychology. 56, 3 (1989), 326–338.
[37]
Jakesch, M. et al. 2013. Image ambiguity and fluency. PLoS ONE. 8, 9 (Sep. 2013). DOI:https://doi.org/10.1371/journal.pone.0074084.
[38]
Karremans, J.C. et al. 2006. Beyond Vicary’s fantasies: The impact of subliminal priming and brand choice. Journal of experimental social psychology. 42, 6 (Nov. 2006), 792–798. DOI:https://doi.org/10.1016/j.jesp.2005.12.002.
[39]
Kawabata, H. and Zeki, S. 2004. Neural correlates of beauty. Journal of neurophysiology. 91, 4 (Apr. 2004), 1699–1705. DOI:https://doi.org/10.1152/jn.00696.2003.
[40]
Kirk, U. 2008. The neural basis of object-context relationships on aesthetic judgment. PLoS ONE. 3, 11 (Nov. 2008). DOI:https://doi.org/10.1371/journal.pone.0003754.
[41]
Kirsch, L.P. et al. 2013. The impact of sensorimotor experience on affective evaluation of dance. Frontiers in human neuroscience. 7, (2013). DOI:https://doi.org/10.3389/fnhum.2013.00521.
[42]
Koelsch, S. 2011. Toward a neural basis of music perception – a review and updated model. Frontier in psychology. 2, (2011). DOI:https://doi.org/10.3389/fpsyg.2011.00110.
[43]
Kornysheva, K. et al. 2009. Tuning-in to the beat: aesthetic appreciation of musical rhythms correlates with a premotor activity boost. Human brain mapping. (2009), NA-NA. DOI:https://doi.org/10.1002/hbm.20844.
[44]
Krumhansl, C.L. and Shepard, R.N. 1979. Quantification of the hierarchy of tonal functions within a diatonic context. Journal of experimental psychology: human perception and performance. 5, 4 (1979), 579–594. DOI:https://doi.org/10.1037//0096-1523.5.4.579.
[45]
Kuhn, G. and Dienes, Z. 2005. Implicit learning of nonlocal musical rules: Implicitly learning more than chunks. Journal of experimental psychology: Learning, memory, and cognition. 31, 6 (2005), 1417–1432.
[46]
Lambrou, C. et al. 2011. The role of aesthetic sensitivity in body dysmorphic disorder. Journal of abnormal psychology. 120, 2 (2011), 443–453.
[47]
Lambrou, C. et al. 2011. The role of aesthetic sensitivity in body dysmorphic disorder. Journal of abnormal psychology. 120, 2 (2011), 443–453.
[48]
Leder, H. et al. 2004. A model of aesthetic appreciation and aesthetic judgments. British Journal of Psychology. 95, 4 (Nov. 2004), 489–508. DOI:https://doi.org/10.1348/0007126042369811.
[49]
Livingstone, M.S. Is it warm? Is it real? Or just low spatial frequency? Science. 290, 5495.
[50]
Loeken et al., L.S. 2009. Coding of pleasant touch. Nature neuroscience. 12, 5 (2009), 547–548.
[51]
McCarty, K. et al. 2013. Male body movements as possible cues to physical strength: a biomechanical analysis. American journal of human biology. 25, 3 (May 2013), 307–312. DOI:https://doi.org/10.1002/ajhb.22360.
[52]
McManus, I.C. 2005. Symmetry and asymmetry in aesthetics and the arts. European review. Suppl. S2 (2005), 157–180. DOI:https://doi.org/10.1017/S1062798705000736.
[53]
McManus, I.C. 1980. The aesthetics of simple figures. British journal of psychology. 71, (1980), 505–524.
[54]
McManus, I.C. et al. 2011. The psychometrics of photographic cropping: The influence of colour, meaning, and expertise. Perception. (2011). DOI:https://doi.org/10.1068/p6700.
[55]
McManus, I.C. and Weatherby, P. 1997. The golden section and the aesthetics of from and composition. Empirical studies of the arts. 15, 2 (1997), 209–232.
[56]
Mele, S. et al. 2013. The importance of perceptual experience in the esthetic appreciation of the body. PLoS ONE. 8, 12 (Dec. 2013). DOI:https://doi.org/10.1371/journal.pone.0081378.
[57]
Minnebusch, D.A. and Daum, I. 2009. Neuropsychological mechanisms of visual face and body perception. Neuroscience & biobehavioral reviews. 33, 7 (Jul. 2009), 1133–1144. DOI:https://doi.org/10.1016/j.neubiorev.2009.05.008.
[58]
Nadal, M. et al. 2008. Towards a framework for the study of the neural correlates of aesthetic preference. Spatial vision. 21, 3 (May 2008), 379–396. DOI:https://doi.org/10.1163/156856808784532653.
[59]
Nozaradan, S. et al. 2012. Selective Neuronal Entrainment to the Beat and Meter Embedded in a Musical Rhythm. Journal of Neuroscience. 32, 49 (Dec. 2012), 17572–17581. DOI:https://doi.org/10.1523/JNEUROSCI.3203-12.2012.
[60]
Opacic, T. et al. 2009. Unspoken knowledge: Implicit learning of structured human dance movement. Journal of experimental psychology: Learning, memory, and cognition. 35, 6 (2009), 1570–1577.
[61]
Orgs, G. et al. 2006. Conceptual priming for environmental sounds and words: an ERP study. Brain and cognition. 62, 3 (Dec. 2006), 267–272. DOI:https://doi.org/10.1016/j.bandc.2006.05.003.
[62]
Orgs, G. et al. 2008. Expertise in dance modulates alphabeta event-related desynchronization during action observation. European journal of neuroscience. 27, 12 (Jun. 2008), 3380–3384. DOI:https://doi.org/10.1111/j.1460-9568.2008.06271.x.
[63]
Orgs, G. et al. 2013. Learning to like it: aesthetic perception of bodies, movements and choreographic structure. Consciousness and cognition. 22, 2 (Jun. 2013), 603–612. DOI:https://doi.org/10.1016/j.concog.2013.03.010.
[64]
Palmer, S. et al. 2008. Aesthetic issues in spatial composition: effects of position and direction on framing single objects. Spatial vision. 21, 3 (May 2008), 421–449. DOI:https://doi.org/10.1163/156856808784532662.
[65]
Palmer, S. et al. 2013. Visual aesthetics and human preference. Annual review of psychology. (2013).
[66]
Peelen, Marius V.1Downing, Paul E.1 p.downing@bangor.ac.uk The neural basis of visual body perception. Nature reviews neuroscience. 8, 8, 636–648.
[67]
Piech, R.M. et al. 2010. Neural correlates of affective influence on choice. Brain and cognition. 72, 2 (Mar. 2010), 282–288. DOI:https://doi.org/10.1016/j.bandc.2009.09.012.
[68]
R. Von Der Heydt, E. Peterhans and G. Baumgartner 1984. Illusory Contours and Cortical Neuron Responses. Science. 224, 4654 (1984), 1260–1262.
[69]
Ramachandran, V.S., Hirstein, W. 1999. The science of art: a neurological theory of aesthetic experience. Journal of consciousness studies. 6, 6–7 (1999), 15–51.
[70]
Reber, R. et al. 2004. Processing fluency and aesthetic pleasure: is beauty in the perceiver’s processing experience? Personality and social psychology review. 8, 4 (Nov. 2004), 364–382. DOI:https://doi.org/10.1207/s15327957pspr0804_3.
[71]
Reddish, P. et al. 2013. Let’s dance together: synchrony, shared intentionality and cooperation. PLoS ONE. 8, 8 (Aug. 2013). DOI:https://doi.org/10.1371/journal.pone.0071182.
[72]
Rhodes, G. 2006. The evolutionary psychology of facial beauty. Annual review of psychology. 57, (2006), 199–266.
[73]
Rizzolatti, G. and Sinigaglia, C. 2010. The functional role of the parieto-frontal mirror circuit: interpretations and misinterpretations. Nature reviews neuroscience. 11, 4 (Apr. 2010), 264–274. DOI:https://doi.org/10.1038/nrn2805.
[74]
Rolf Reber, Piotr Winkielman and Norbert Schwarz 1998. Effects of perceptual fluency on affective judgments. Psychological science. 9, 1 (1998), 45–48.
[75]
Royet, J.-P. et al. 2013. The impact of expertise in olfaction. Frontiers in psychology. 4, (2013). DOI:https://doi.org/10.3389/fpsyg.2013.00928.
[76]
Rudenga, K. et al. 2010. Evidence for an integrated oral sensory module in the human anterior ventral insula. Chemical senses. 35, 8 (Oct. 2010), 693–703. DOI:https://doi.org/10.1093/chemse/bjq068.
[77]
Rudolf Arnheim 1974. On order, simplicity and entropy. Leonardo. 7, 2 (1974), 139–141.
[78]
Sammartino, J. and Palmer, S.E. 2012. Aesthetic issues in spatial composition: Effects of vertical position and perspective on framing single objects. Journal of experimental psychology: Human perception and performance. 38, 4 (2012), 865–879.
[79]
Saygin, A.P. 2004. Point-light biological motion perception activates human premotor cortex. Journal of neuroscience. 24, 27 (Jul. 2004), 6181–6188. DOI:https://doi.org/10.1523/JNEUROSCI.0504-04.2004.
[80]
Schloss, K.B. et al. 2011. Effects of university affiliation and "school spirit” on color preferences: Berkeley versus Stanford. Psychonomic bulletin & review. 18, 3 (Jun. 2011), 498–504. DOI:https://doi.org/10.3758/s13423-011-0073-1.
[81]
Scott, I.M. et al. 2014. Human preferences for sexually dimorphic faces may be evolutionarily novel. Proceedings of the National Academy of Sciences. (Sep. 2014). DOI:https://doi.org/10.1073/pnas.1409643111.
[82]
Semir Zeki 1998. Art and the brain. Daedalus. 127, 2 (1998), 71–103.
[83]
Shankar, M.U. et al. 2010. Grape expectations: The role of cognitive influences in color–flavor interactions. Consciousness and Cognition. 19, 1 (Mar. 2010), 380–390. DOI:https://doi.org/10.1016/j.concog.2009.08.008.
[84]
Shimamura, A.P. and Palmer, S.E. Aesthetic science: connecting minds, brains, and experience.
[85]
Sian L. Beilock and Lauren E. Holt 2007. Embodied preference judgments: can likeability be driven by the motor system? Psychological science. 18, 1 (2007), 51–57. DOI:https://doi.org/10.2307/40064577.
[86]
Silvia, Paul J., Department of Psychology, University of North Carolina, Greensboro, NC, US, p_silvia@uncg.edu Emotional responses to art: From collation and arousal to cognition and emotion. Review of general psychology.
[87]
Stefan Koelsch 2012. Brain and music. John Wiley & Sons.
[88]
Stevens, C.J. 2012. Music perception and cognition: a review of recent cross-cultural research. Topics in cognitive science. 4, 4 (Oct. 2012), 653–667. DOI:https://doi.org/10.1111/j.1756-8765.2012.01215.x.
[89]
The musician’s brain as a model of neuroplasticity : Article : Nature Reviews Neuroscience: http://www.nature.com/nrn/journal/v3/n6/full/nrn843.html.
[90]
Topolinski, S. 2010. Moving the eye of the beholder: motor components in vision determine aesthetic preference. Psychological science. 21, 9 (Sep. 2010), 1220–1224. DOI:https://doi.org/10.1177/0956797610378308.
[91]
Tucker, M. and Ellis, R. 1998. On the relations between seen objects and components of potential actions. Journal of experimental psychology: Human perception and performance. 24, 3 (1998), 830–846.
[92]
Unjung Nam Pitch distributions in Korean court music: evidence consistent with tonal hierarchies. Music perception: an interdisciplinary journal. 16, 2, 243–247.
[93]
Urgesi, C. et al. 2007. Transcranial magnetic stimulation reveals two cortical pathways for visual body processing. Journal of neuroscience. 27, 30 (Jul. 2007), 8023–8030. DOI:https://doi.org/10.1523/JNEUROSCI.0789-07.2007.
[94]
Vartanian, O. et al. 2013. Impact of contour on aesthetic judgments and approach-avoidance decisions in architecture. Proceedings of the National Academy of Sciences. 110, Supplement_2 (Jun. 2013), 10446–10453. DOI:https://doi.org/10.1073/pnas.1301227110.
[95]
Wacongne, C. et al. 2011. Evidence for a hierarchy of predictions and prediction errors in human cortex. Proceedings of the National Academy of Sciences. 108, 51 (Dec. 2011), 20754–20759. DOI:https://doi.org/10.1073/pnas.1117807108.
[96]
Winkielman, P. et al. 2006. Prototypes are attractive because they are easy on the mind. Psychological science. 17, 9 (Sep. 2006), 799–806. DOI:https://doi.org/10.1111/j.1467-9280.2006.01785.x.
[97]
Winkler, C. and Rhodes, G. 2005. Perceptual adaptation affects attractiveness of female bodies. British journal of psychology. 96, 2 (May 2005), 141–154. DOI:https://doi.org/10.1348/000712605X36343.
[98]
Zajonc, R.B. 1968. Attitudinal effects of mere exposure. Journal of personality and social psychology. 9, 2, Pt.2 (1968), 1–27. DOI:https://doi.org/10.1037/h0025848.
[99]
Zeki, S. and Ishizu, T. 2013. The "Visual Shock” of Francis Bacon: an essay in neuroesthetics. Frontiers in Human Neuroscience. 7, (2013). DOI:https://doi.org/10.3389/fnhum.2013.00850.
[100]
Zeki, S. and Lamb, M. 1994. The neurology of kinetic art. Brain. 117, 3 (1994), 607–636. DOI:https://doi.org/10.1093/brain/117.3.607.
[101]
Zeki, S. and Stutters, J. 2012. A brain-derived metric for preferred kinetic stimuli. Open biology. 2, 2 (Feb. 2012), 120001–120001. DOI:https://doi.org/10.1098/rsob.120001.
[102]
AugustinLederHutzlerCarbon2008.pdf.
[103]
doi:10.1016/j.actpsy.2005.08.005 - ledercarbonripsas2006.pdf.
[104]
2004. Neuroanatomical correlates of aesthetic preference for paintings. Neuroreport. (2004).