Artists’ Advance: Decreased Upper Alpha Power while Drawing in Artists Compared with Non-Artists

Does artistic training affect color perception? A study of ERPs and EROs in experiencing colors of different brightness

Color is a visual cue that can convey emotions and attract attention, and there is no doubt that brightness is an important element of color differentiation. To examine the impact of art training on color perception, 44 participants were assigned to two groups-one for those with and one for those without art training-in an EEG experiment. While the participants had their electroencephalographic data recorded, they scored their emotional responses to color stimuli of different brightness levels based on the Munsell color system. The behavioral results revealed that in both groups, high-brightness colors were rated more positively than low-brightness colors. Furthermore, event-related potential results for the artist group showed that high-brightness colors enhanced P2 and P3 amplitudes. Moreover, non-artists had longer N2 latency than artists, and there was a significant Group × Brightness interaction separately for the N2 and P3 components. Simple effect analysis showed that N2 and P3 amplitudes were substantially higher for high-brightness stimuli than for lower-brightness stimuli in the artistic group, but this was not the case in the non-artist group. Additionally, evoked event-related oscillation results showed that in both groups, high-brightness stimuli also elicited large delta, theta, and alpha as well as low gamma responses. These results indicate that high-brightness color stimuli elicit more positive emotions and stronger neurological reactions and that artistic training may have a positive effect on top-down visual perception.

Bilingualism modulates neural efficiency at rest through alpha reactivity

The aim of the present study was to investigate how resting state EEG rhythms reflect attentional processes and bilingual experience. We compared alpha and beta rhythms for monolingual and bilingual young adults in eyes open and eyes closed conditions using EEG measures of frequency power, reactivity, and coherence. Power shows the amount of brain activity at a given frequency band; reactivity indexes the desynchronization of neuronal activity when individuals open their eyes at rest; and coherence indicates the brain regions that have correlated activity. The results showed that bilinguals had similar alpha power as monolinguals in both resting conditions but less alpha reactivity across the whole scalp. There was also more focused activation for bilinguals expressed as more coherence in posterior electrodes, particularly when eyes were opened to direct attention. For beta, there were no group differences in power or reactivity, but there was higher coherence for monolinguals than bilinguals, a pattern consistent with previous literature showing that beta frequency was related to language learning and native language proficiency. These results are in line with a neural efficiency theory and suggest that bilinguals have a more efficient brain for attentional mechanisms than monolinguals at rest.

The Impact of Visual Art and High Affective Arousal on Heuristic Decision-Making in Consumers

In marketing, the use of visual-art-based designs on products or packaging crucially impacts consumers' decision-making when purchasing. While visual art in product packaging should be designed to induce consumer's favorable evaluations, it should not evoke excessive affective arousal, because this may lead to the depletion of consumer's cognitive resources. Thus, consumers may use heuristic decision-making and commit an inadvertent mistake while purchasing. Most existing studies on visual arts in marketing have focused on preference (i.e., affective valence) using subjective evaluations. To address this, we applied a neuroscientific measure, electroencephalogram (EEG) to increase experimental validity. Two successive tasks were designed to examine the effects of affective arousal and affective valence, evoked by visual artwork, on the consecutive cognitive decision-making. In task 1, to evaluate the effect of visual art, EEG of two independent groups of people was measured when they viewed abstract artwork. The abstract art of neoplasticism (AbNP) group (n = 20) was showing Mondrian's artwork, while the abstract art of expressionism (AbEX) group (n = 18) viewed Kandinsky's artwork. The neoplasticism movement strove to eliminate emotion in art and expressionism to express the feelings of the artist. Building on Gallese's embodied simulation theory, AbNP and AbEX artworks were expected to induce lower and higher affect, respectively. In task 2, we investigated how the induced affect differentially influenced a succeeding cognitive Stroop task. We anticipated that the AbEX group would deplete more cognitive resources than AbNP group, based on capacity limitation theory. Significantly stronger affect was induced in the AbEX group in task 1 than in the AbNP group, especially in affective arousal. In task 2, the AbEX group showed a faster reaction time and higher error rate in the Stroop task. According to our hypotheses, the higher affective arousal state of the AbEX group might deplete more cognitive resources during task 1 and result in poorer performance in task 2 because affect impacted their cognitive resources. This is the first study using neuroscientific measures to prove that high affective arousal induced by visual arts on packaging may induce heuristic decision-making in consumers, thereby advancing our understanding of neuromarketing.

Why would Parkinson's disease lead to sudden changes in creativity, motivation, or style with visual art?: A review of case evidence and new neurobiological, contextual, and genetic hypotheses

Parkinson's disease (PD) is a devastating diagnosis with, however, potential for an extremely intriguing aesthetic component. Despite motor and cognitive deficits, an emerging collection of studies report a burst of visual artistic output and alterations in produced art in a subgroup of patients. This provides a unique window into the neurophysiological bases for why and how we might create and enjoy visual art, as well as into general brain function and the nature of PD or other neurodegenerative diseases. However, there has not been a comprehensive organization of literature on this topic. Nor has there been an attempt to connect case evidence and knowledge on PD with present understanding of visual art making in psychology and neuroaesthetics in order to propose hypotheses for documented artistic changes. Here, we collect the current research on this topic, tie this to PD symptoms and neurobiology, and provide new theories focusing on dopaminergic neuron damage, over-stimulation from dopamine agonist therapy, and context or genetic factors revealing the neurobiological basis of the visual artistic brain.

The role of the visual arts in the enhancing the learning process

With all the wealth of scientific activities, there remains a certain stigma associated with careers in science, as a result of the inevitable concentration on narrow specializations that are inaccessible to general understanding. Enhancement of the process of scientific learning remains a challenge, particularly in the school setting. While direct explanation seems the best approach to expedite learning any specific subject, it is well known that the ability to deeply absorb facts and concepts is greatly enhanced by placing them in a broader context of relevance to the issues of everyday life and to the larger goals of improvement of the quality of life and advancement to a more evolved society as a whole. If the sciences can be associated with areas of artistic endeavor, they may be viewed as more accessible and favorable topics of study. There is consequently an urgent need for research in the relationship between learning and experience in the arts because both art education and scientific literacy remain at an inadequate level even in economically advanced countries. The focus of this review is the concept that inspiration is an integral aspect of the artistic experience, both for the artist and for the viewer of the artwork. As an integrative response, inspiration involves not only higher cortical circuitry but its integration with the deep brain structures such as limbic system and medial frontal structures, which are understood to mediate the experience of emotions, motivational rewards, and the appreciation of the esthetic values of the impinging stimuli. In this sense, inspiration can turn almost any occupation in life into an avocation, a source of satisfaction in achieving life goals. Conversely, when inspiration is lacking, the motivation to learn, adapt, and prosper is impeded. Thus, inspiration may be viewed as a potent aspect of human experience in linking art and science.

The advantage of ambiguity? Enhanced neural responses to multi-stable percepts correlate with the degree of perceived instability

Artwork can often pique the interest of the viewer or listener as a result of the ambiguity or instability contained within it. Our engagement with uncertain sensory experiences might have its origins in early cortical responses, in that perceptually unstable stimuli might preclude neural habituation and maintain activity in early sensory areas. To assess this idea, participants engaged with an ambiguous visual stimulus wherein two squares alternated with one another, in terms of simultaneously opposing vertical and horizontal locations relative to fixation (i.e., stroboscopic alternating motion; von Schiller, 1933). At each trial, participants were invited to interpret the movement of the squares in one of five ways: traditional vertical or horizontal motion, novel clockwise or counter-clockwise motion, and, a free-view condition in which participants were encouraged to switch the direction of motion as often as possible. Behavioral reports of perceptual stability showed clockwise and counter-clockwise motion to possess an intermediate level of stability compared to relatively stable vertical and horizontal motion, and, relatively unstable motion perceived during free-view conditions. Early visual evoked components recorded at parietal–occipital sites such as C1, P1, and N1 modulated as a function of visual intention. Both at a group and individual level, increased perceptual instability was related to increased negativity in all three of these early visual neural responses. Engagement with increasingly ambiguous input may partly result from the underlying exaggerated neural response to it. The study underscores the utility of combining neuroelectric recording with the presentation of perceptually multi-stable yet physically identical stimuli, in revealing brain activity associated with the purely internal process of interpreting and appreciating the sensory world that surrounds us.