Reply to CommentWhat do we actually hope to accomplish by modeling art experience?: Reply to comments on “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”
Section snippets
Commentaries and suggested additions or questions in the VIMAP model of art experience
Beginning with the main commentaries' questions, and as a short review, we had proposed our model largely as a box-and-arrow design: Beginning with a pre-state incorporating expectations, schema, and a general idea of the self, the model then moves through a series of stages involving the “bottom-up” processing of low-level features and gist information, followed by more “top-down” integration of viewer schema and memory, and then ending in a “mastery” stage where this information is assessed
Theoretical discussions of specific model aspects
Commentators also raised questions regarding our discussion of specific behavioral factors or model sequences. This too was an area where we had hoped to receive comment, especially because this paper attempted to introduce several elements (sublime, thrills, chills, beauty, discussion of brain areas and networks) that had previously not been theoretically connected to existing models in empirical aesthetics.
Boxes and arrows versus predictive coding: what do we hope to accomplish by modeling art experience?
Finally, as noted above, several comments (Wagamans, Nadal & Skov, and Kuiken & Jacobs) touched a deeper issue that also demands a discussion. As we claimed in our abstract, the entire project had a rather audacious aim: to meaningfully organize and provide a basis for systematically assessing the broad variety of affects that could occur when we view art. In our opinion, the best way of doing this was to employ the time-tested box and arrow design, tying experience to stages or cognitive
References (31)
- et al.
Which brain networks related to art perception are we talking about?: Comment on “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” by Matthew Pelowski et al
Phys Life Rev
(2017) - et al.
On the complex interaction between mathematics and the sciences of living systems: Comment on “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” by Matthew Pelowski et al
Phys Life Rev
(2017) - et al.
The forgotten artist: why to consider intentions and interaction in a model of aesthetic experience: Comment on “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” by Matthew Pelowski et al
Phys Life Rev
(2017) - et al.
Learning dynamics by theoretical tools of game theory: Comment on “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” by M. Pelowski et al
Phys Life Rev
(2017) - et al.
Representing the sublime in the VIMAP and empirical aesthetics: Reviving Edmund Burke's A Philosophical Enquiry into the Origins of Our Ideas of the Sublime and Beautiful: Comment on “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” by Matthew Pelowski et al
Phys Life Rev
(2017) - et al.
Ugliness as the fourth wall-breaker: Comment on “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” by Matthew Pelowski et al
Phys Life Rev
(2017) Aesthetic episodes, domains, and the mind: Comment on: “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” by Matthew Pelowski et al
Phys Life Rev
(2017)- et al.
Conceptions of the temporal course of aesthetic engagement: Comment on “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” by Matthew Pelowski et al
Phys Life Rev
(2017) - et al.
Top-down and bottom-up: front to back: Comment on “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” by Matthew Pelowski et al
Phys Life Rev
(2017) Beauty and sublime: Comment on “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” by Matthew Pelowski et al
Phys Life Rev
(2017)