Elsevier

NeuroImage

Volume 188, March 2019, Pages 584-597
NeuroImage

Dynamics of aesthetic experience are reflected in the default-mode network

https://doi.org/10.1016/j.neuroimage.2018.12.017Get rights and content

Abstract

Neuroaesthetics is a rapidly developing interdisciplinary field of research that aims to understand the neural substrates of aesthetic experience: While understanding aesthetic experience has been an objective of philosophers for centuries, it has only more recently been embraced by neuroscientists. Recent work in neuroaesthetics has revealed that aesthetic experience with static visual art engages visual, reward and default-mode networks. Very little is known about the temporal dynamics of these networks during aesthetic appreciation. Previous behavioral and brain imaging research suggests that critical aspects of aesthetic experience have slow dynamics, taking more than a few seconds, making them amenable to study with fMRI. Here, we identified key aspects of the dynamics of aesthetic experience while viewing art for various durations. In the first few seconds following image onset, activity in the DMN (and high-level visual and reward regions) was greater for very pleasing images; in the DMN this activity counteracted a suppressive effect that grew longer and deeper with increasing image duration. In addition, for very pleasing art, the DMN response returned to baseline in a manner time-locked to image offset. Conversely, for non-pleasing art, the timing of this return to baseline was inconsistent. This differential response in the DMN may therefore reflect the internal dynamics of the participant's state: The participant disengages from art-related processing and returns to stimulus-independent thought. These dynamics suggest that the DMN tracks the internal state of a participant during aesthetic experience.

Section snippets

Participants

Thirty participants were recruited at New York University and paid for their participation. Five participants were excluded due to excessive motion (see below), leaving a final group of 25 participants (8 men, 17 women; 24 right-handed; 27.56 ± 6.49 years of age). The Institutional Review Board approved this study and all participants gave informed consent in accordance with the New York University Committee on Activities Involving Human Subjects.

Our sample size was determined by conducting a

Continuous pleasure ratings well fit by a prior model

Continuous pleasure ratings were well fit by a simple model adapted from a previous study using a different manual response (finger spread on the surface of an iPad, eqs. (1)–(4) in Brielmann and Pelli, 2017). The model supposes a stable initial response level rinitial. After stimulus onset, pleasure asymptotically approaches the steady-state rsteady as a decaying exponential with time constant τshort. After stimulus offset, pleasure asymptotically approaches the final response level rfinal as

Discussion

We found that activity in the DMN, a brain network hypothesized to support internally directed mentation (Buckner et al., 2008), responded to aesthetically pleasing art regardless of how long the art was viewed. With non-appealing images, suppression of the DMN increased for longer presentation durations. Unlike behavioral ratings of continuous pleasure, the DMN response did not linger after the image disappeared; rather, the DMN was transiently modulated by aesthetic appreciation and also

Conclusions

Aesthetically pleasing interactions with visual artworks dynamically engage perceptual, reward, and DMN networks, resulting in both transient and sustained changes in network activation. By varying the duration of the art image, we distinguished stimulus-driven from intrinsic dynamics. Stimulus-driven dynamics ended shortly after stimulus offset and included visual responses in higher-level visual regions and reward responses in the basal ganglia and DMN. Intrinsic dynamics included suppression

Conflicts of interest

The authors declare no competing financial interests.

Acknowledgements

We would like to acknowledge the following: Clay Curtis for suggestions on statistical analysis, Kat Markowski for help with fMRI data preprocessing, David Poeppel for help with project management, and Lauren Vale for help with squeezeball implementation. Funding was provided by the NYU Global Institute for Advanced Study.

Grateful acknowledgement is given for permission to reproduce the following artworks depicted in Fig. 1: An Ecclesiastic, c. 1874. Mariano José Maria Bernardo Fortuny y Carbo.

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    These authors contributed equally to this work.

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