The role of the lateral occipital cortex in aesthetic appreciation of representational and abstract paintings: a TMS study

Cerebellar contribution to emotional body language perception: a TMS study

Consistent evidence suggests that the cerebellum contributes to the processing of emotional facial expressions. However, it is not yet known whether the cerebellum is recruited when emotions are expressed by body postures or movements, or whether it is recruited differently for positive and negative emotions. In this study, we asked healthy participants to discriminate between body postures (with masked face) expressing emotions of opposite valence (happiness vs anger, Experiment 1), or of the same valence (negative: anger vs sadness; positive: happiness vs surprise, Experiment 2). While performing the task, participants received online transcranial magnetic stimulation (TMS) over a region of the posterior left cerebellum and over two control sites (early visual cortex and vertex). We found that TMS over the cerebellum affected participants' ability to discriminate emotional body postures, but only when one of the emotions was negatively valenced (i.e. anger). These findings suggest that the cerebellar region we stimulated is involved in processing the emotional content conveyed by body postures and gestures. Our findings complement prior evidence on the role of the cerebellum in emotional face processing and have important implications from a clinical perspective, where non-invasive cerebellar stimulation is a promising tool for the treatment of motor, cognitive and affective deficits.

Differences in regional gray matter volume predict the extent to which openness influences judgments of beauty and pleasantness of interior architectural spaces

Hedonic evaluation of sensory objects varies from person to person. While this variability has been linked to differences in experience, little is known about why stimuli lead to different evaluations in different people. We used linear mixed-effects models to determine the extent to which the openness, contour, and ceiling height of interior spaces influenced the beauty and pleasantness ratings of 18 participants. Then, by analyzing structural brain images acquired for the same group of participants, we asked if any regional gray matter volume (rGMV) covaried with these differences in the extent to which the three features influence beauty and pleasantness ratings. Voxel-based morphometry analysis revealed that the influence of openness on pleasantness ratings correlated with rGMV in the anterior prefrontal cortex (Brodmann area (BA)-10), and the influence of openness on beauty ratings correlated with rGMV in the temporal pole (BA38) and cluster, including the posterior cingulate cortex (BA31) and paracentral lobule (BA5/6). There were no significant correlations involving contour or ceiling height. Our results suggest that regional variance in gray matter volume may play a role in the computation of hedonic valuation and account for differences in the way people weigh certain attributes of interior architectural spaces.

Familiarity and Novelty in Aesthetic Preference: The Effects of the Properties of the Artwork and the Beholder

Familiarity and novelty are fundamental yet competing factors influencing aesthetic preference. However, whether people prefer familiar paintings or novel paintings has not been clear. Using both behavioral and eye-tracking measures, the present study aimed to investigate whether the effect of familiarity-novelty on aesthetic preference is independent or dependent on artwork properties (painting content, visual complexity) and viewer characteristics (experience in art). Participants were presented with two images of paintings, one of which was repeatedly presented but was always paired with a new painting in a randomized lateral arrangement. They were asked to indicate which of the two images they preferred with the degree of their preference. Behavioral results demonstrated an interactive influence of painting content and complexity on familiarity-novelty preference, especially alongside the distinction between representational and abstract paintings. Also, the familiarity-novelty preference was modulated by the degree of art experience, for abstract paintings in particular. Gaze results showed the differential effects of painting content, complexity, and art experience echoing the behavioral results. Taken together, the convergent results derived from behavioral and eye-tracking measures imply that novelty is an important feature of aesthetic appreciation, but its influence is modulated by properties of both the artwork and the beholder.

Cross-modal involvement of the primary somatosensory cortex in visual working memory: A repetitive TMS study

Recent literature suggests that the primary somatosensory cortex (S1), once thought to be a low-level area only modality-specific, is also involved in higher-level, cross-modal, cognitive functions. In particular, electrophysiological studies have highlighted that the cross-modal activation of this area may also extend to visual Working Memory (WM), being part of a mnemonic network specific for the temporary storage and manipulation of visual information concerning bodies and body-related actions. However, the causal recruitment of S1 in the WM network remains speculation. In the present study, by taking advantage of repetitive Transcranial Magnetic Stimulation (rTMS), we look for causal evidence that S1 is implicated in the retention of visual stimuli that are salient for this cortical area. To this purpose, in a first experiment, high-frequency (10 Hz) rTMS was delivered over S1 of the right hemisphere, and over two control sites, the right lateral occipital cortex (LOC) and the right dorsolateral prefrontal cortex (dlPFC), during the maintenance phase of a high-load delayed match-to-sample task in which body-related visual stimuli (non-symbolic hand gestures) have to be retained. In a second experiment, the specificity of S1 recruitment was deepened by using a version of the delayed match-to-sample task in which visual stimuli depict geometrical shapes (non-body related stimuli). Results show that rTMS perturbation of S1 activity leads to an enhancement of participants' performance that is selective for body-related visual stimuli; instead, the stimulation of the right LOC and dlPFC does not affect the temporary storage of body-related visual stimuli. These findings suggest that S1 may be recruited in visual WM when information to store (and recall) is salient for this area, corroborating models which suggest the existence of a dedicated mnemonic system for body-related information in which also somatosensory cortices play a key role, likely thanks to their cross-modal (visuo-tactile) properties.

An objective evaluation of the beholder's response to abstract and figurative art based on construal level theory

Does abstract art evoke a different cognitive state than figurative art? To address this question empirically, we bridged art theory and cognitive research and designed an experiment leveraging construal level theory (CLT). CLT is based on experimental data showing that psychologically distant events (i.e., occurring farther away in space or time) are represented more abstractly than closer events. We measured construal level elicited by abstract vs. representational art and asked subjects to assign abstract/representational paintings by the same artist to a situation that was temporally/spatially near or distant. Across three experiments, we found that abstract paintings were assigned to the distant situation significantly more often than representational paintings, indicating that abstract art was evocative of greater psychological distance. Our data demonstrate that different levels of artistic abstraction evoke different levels of mental abstraction and suggest that CLT provides an empirical approach to the analysis of cognitive states evoked by different levels of artistic abstraction.

Gender-based functional connectivity differences in brain networks in childhood

BACKGROUND AND OBJECTIVE

Understanding the effect of gender differences on the brain can provide important information to characterize normal changes throughout life and to increase the likelihood of sex-specific approaches for neurological and psychiatric diseases. In this study, Functional Connectivity (FC), Amplitude of Low-Frequency Fluctuations (ALFF) and fractional ALFF (fALFF) analyzes will be compared between female and male brains between the ages of 7 and 18 years using resting state-functional magnetic resonance imaging (rs-fMRI).

METHODS

The rs-fMRI data in this study has been provided by The New York University (NYU) Child Study Center of the publicly shared ADHD200 database. From the NYU dataset, 68 (34 females, 34 males) healthy subjects in the age range of 7-18 years were selected. The female group (mean age: 12.3271±3.1380) and male group (mean age: 11.8766±2.9697) consisted of right-handed, small head motion and similar IQ values. FC was obtained by seed voxel analysis and the effect of low-frequency fluctuations on gender was examined by ALFF and fALFF analyses. Two-sample t-test was used to compare female and male groups with the significance thresholds set to FDR-corrected p<0.05.

RESULTS

In the results of our study, both in the ALFF, fALFF analyses and the seed regions belonging to many network regions, higher FC rates were found in girls than boys. Our results show that the females' language functions, visual functions such as object detection and recognition, working memory, executive functions, and episodic memory are more developed than males in this age range. In addition, as another result of our study, the seed regions are statistically stronger where the higher activation of female participants than male participants has concentrated in the left hemisphere.

CONCLUSIONS

Gender differences in brain networks should be taken into consideration when examining childhood cognitive and neuropsychiatric disorders and the results should also be evaluated according to gender. Evaluation of gender differences in childhood can increase the likelihood of early and definitive diagnosis and correct treatment for neurological diseases and can help doctors and scientists find new diagnostic tools to discover brain differences.

Abstract art paintings, global image properties, and verbal descriptions: An empirical and computational investigation

While global image properties (GIPs) relate to preference ratings in many categories of visual stimuli, this relationship is typically not seen for abstract art paintings. Using computational network science and empirical methods, we further investigated GIPs and subjective preferences. First, we replicated the earlier observation that GIPs do not relate to preferences for abstract art. Next, we estimated the network structure of abstract art paintings using two approaches: the first was based on verbal descriptions and the second on GIPs. We examined the extent to which network measures computed from these two networks (1) related to preference for abstract art paintings and (2) determined affiliation of images to specific art styles. Only semantic-based network predicted the subjective preference ratings and art style. Finally, preference and GIPs differed for sub-groups of abstract art paintings. Our results demonstrate the importance of verbal descriptors in evaluating abstract art, and that it is not useful in empirical aesthetics to treat abstract art paintings as a single category.

Neural correlates of visual aesthetic appreciation: insights from non-invasive brain stimulation

During the last decade, non-invasive brain stimulation techniques have been increasingly employed in the field of neuroaesthetics research to shed light on the possible causal role of different brain regions contributing to aesthetic appreciation. Here, I review studies that have employed transcranial magnetic stimulation (TMS) and transcranial direct current stimulation (tDCS) to investigate neurocognitive mechanisms mediating visual aesthetic appreciation for different stimuli categories (faces, bodies, paintings). The review first considers studies that have assessed the possible causal contribution of cortical regions in mediating aesthetic appreciation along the visual ventral and dorsal pathways (i.e., the extrastriate body area, the motion-sensitive region V5/MT+ , the lateral occipital complex and the posterior parietal cortex). It then considers TMS and tDCS studies that have targeted premotor and motor regions, as well as other areas involved in body and facial expression processing (such as the superior temporal sulcus and the somatosensory cortex) to assess their role in aesthetic evaluation. Finally, it discusses studies that have targeted medial and dorsolateral prefrontal regions leading to significant changes in aesthetic appreciation for both biological stimuli (faces and bodies) and artworks. Possible mechanisms mediating stimulation effects on aesthetic judgments are discussed. A final section considers both methodological limitations of the reviewed studies (including levels of statistical power and the need for further replication) and the future potential for non-invasive brain stimulation to significantly contribute to the understanding of the neural bases of visual aesthetic experiences.

A new conception of visual aesthetic sensitivity

Aesthetic sensitivity has been defined as the ability to recognize and appreciate beauty and compositional excellence, and to judge artistic merit according to standards of aesthetic value. The Visual Aesthetic Sensitivity Test (VAST) has often been used to assess this ability, but recent research has revealed it has several psychometric problems. Such problems are not easily remedied, because they reflect flawed assumptions inherent to the concept of aesthetic sensitivity as traditionally understood, and to the VAST itself. We introduce a new conception of aesthetic sensitivity defined as the extent to which someone's aesthetic valuation is influenced by a given feature. Experiment 1 aimed to characterize aesthetic sensitivity to four prominent features in visual aesthetics: complexity, symmetry, contour, and balance. Experiment 2 aimed to replicate the findings of Experiment 1 and to assess the test-retest reliability of an instrument designed to measure aesthetic sensitivity to these features using an abridged set of stimuli. Our results reveal that people differ remarkably in the extent to which visual features influence their liking, highlighting the crucial role of individual variation when modelling aesthetic preferences. We did not find clear relations between the four measures of aesthetic sensitivity and personality, intelligence, and art interest and knowledge. Finally, our measurement instrument exhibited an adequate-to-good test-retest reliability.

Aesthetic sensitivity to curvature in real objects and abstract designs

The features of objects have a strong influence on how we evaluate, judge, approach, and behave toward them. People generally prefer complex, symmetric, balanced and curved designs. In addition to these general trends, however, there are substantial differences among people in what they like and prefer, and in the extent to which their preferences and choices are modulated by design features. Here we aimed to determine whether curvature in real objects and abstract designs influenced participants' preference to the same extent. We found that, in general, participants prefer real objects and abstract designs with curved contours. But we also uncovered a remarkable breadth of variation in individual preferences. Finally, our results show that people who are highly sensitive to curvature in real objects are also highly sensitive to curvature in abstract designs, and that people who are insensitive to curvature in one kind of stimulus are also insensitive to the other.

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

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.

Hemispheric asymmetry of liking for representational and abstract paintings

Although the neural correlates of the appreciation of aesthetic qualities have been the target of much research in the past decade, few experiments have explored the hemispheric asymmetries in underlying processes. In this study, we used a divided visual field paradigm to test for hemispheric asymmetries in men and women's preference for abstract and representational artworks. Both male and female participants liked representational paintings more when presented in the right visual field, whereas preference for abstract paintings was unaffected by presentation hemifield. We hypothesize that this result reflects a facilitation of the sort of visual processes relevant to laypeople's liking for art-specifically, local processing of highly informative object features-when artworks are presented in the right visual field, given the left hemisphere's advantage in processing such features.

TMS over right OFA affects individuation of faces but not of exemplars of objects

In addition to its well-documented role in processing of faces, the occipital face area in the right hemisphere (rOFA) may also play a role in identifying specific individuals within a class of objects. Here we explored this issue by using fMRI-guided TMS. In a first experiment, participants had to judge whether two sequentially presented images of faces or objects represented exactly the same exemplar or two different exemplars of the same class, while receiving online TMS over either the rOFA, the right lateral occipital cortex (rLO) or the Vertex (control). We found that, relative to Vertex, stimulation of rOFA impaired individuation of faces only, with no effect on objects; in contrast, TMS over rLO reduced individuation of objects but not of faces. In a second control experiment participants judged whether a picture representing a fragment of a stimulus belonged or not to the subsequently presented image of a whole stimulus (part-whole matching task). Our results showed that rOFA stimulation selectively disrupted performance with faces, whereas performance with objects (but not with faces) was selectively affected by TMS over rLO. Overall, our findings suggest that rOFA does not contribute to discriminate between exemplars of non-face objects.

Neuropsychopharmacological aesthetics: A theoretical consideration of pharmacological approaches to causative brain study in aesthetics and art

Recent developments in neuroaesthetics have heightened the need for causative approaches to more deeply understand the mechanism underlying perception, emotion, and aesthetic experiences. This has recently been the topic for empirical work, employing several causative methods for changing brain activity, as well as comparative assessments of individuals with brain damage or disease. However, one area of study with high potential, and indeed a long history of often nonscientific use in the area of aesthetics and art, employing psychopharmacological chemicals as means of changing brain function, has not been systematically utilized. This chapter reviews the literature on this topic, analyzing neuroendocrinological (neurochemical) approaches and mechanisms that might be used to causatively study the aesthetic brain. We focus on four relevant neuromodulatory systems potentially related to aesthetic experience: the dopaminergic, serotonergic, cannabinoid, and the opioidergic system. We build a bridge to psychopharmacological methods and review drug-induced behavioral and neurobiological consequences. We conclude with a discussion of hypotheses and suggestions for future research.

The dorsomedial prefrontal cortex mediates the interaction between moral and aesthetic valuation: a TMS study on the beauty-is-good stereotype

Attractive individuals are perceived as possessing more positive personal traits than unattractive individuals. This reliance on aesthetic features to infer moral character suggests a close link between aesthetic and moral valuation. Here we aimed to investigate the neural underpinnings of the interaction between aesthetic and moral valuation by combining transcranial magnetic stimulation (TMS) with a priming paradigm designed to assess the Beauty-is-Good stereotype. Participants evaluated the trustworthiness of a series of faces (targets), each of which was preceded by an adjective describing desirable, undesirable, or neutral aesthetic qualities (primes). TMS was applied between prime and target to interfere with activity in two regions known to be involved in aesthetic and moral valuation: the dorsomedial prefrontal cortex (dmPFC, a core region in social cognition) and the dorsolateral prefrontal cortex (dlPFC, critical in decision making). Our results showed that when TMS was applied over vertex (control) and over the dlPFC, participants judged faces as more trustworthy when preceded by positive than by negative aesthetic primes (as also shown in two behavioral experiments). However, when TMS was applied over the dmPFC, primes had no effect on trustworthiness judgments. A second Experiment corroborated this finding. Our results suggest that mPFC plays a causal role linking moral and aesthetic valuation.

The role of the cerebellum in explicit and incidental processing of facial emotional expressions: A study with transcranial magnetic stimulation

Growing evidence suggests that the cerebellum plays a critical role in non-motor functions, contributing to cognitive and affective processing. In particular, the cerebellum might represent an important node of the "limbic" network, underlying not only emotion regulation but also emotion perception and recognition. Here, we used transcranial magnetic stimulation (TMS) to shed further light on the role of the cerebellum in emotional perception by specifically testing cerebellar contribution to explicit and incidental emotional processing. In particular, in three different experiments, we found that TMS over the (left) cerebellum impaired participants' ability to categorize facial emotional expressions (explicit task) and to classify the gender of emotional faces (incidental emotional processing task), but not the gender of neutral faces. Overall, our results indicate that the cerebellum is involved in perceiving the emotional content of facial stimuli, even when this is task irrelevant.

Toward Model Building for Visual Aesthetic Perception

Several models of visual aesthetic perception have been proposed in recent years. Such models have drawn on investigations into the neural underpinnings of visual aesthetics, utilizing neurophysiological techniques and brain imaging techniques including functional magnetic resonance imaging, magnetoencephalography, and electroencephalography. The neural mechanisms underlying the aesthetic perception of the visual arts have been explained from the perspectives of neuropsychology, brain and cognitive science, informatics, and statistics. Although corresponding models have been constructed, the majority of these models contain elements that are difficult to be simulated or quantified using simple mathematical functions. In this review, we discuss the hypotheses, conceptions, and structures of six typical models for human aesthetic appreciation in the visual domain: the neuropsychological, information processing, mirror, quartet, and two hierarchical feed-forward layered models. Additionally, the neural foundation of aesthetic perception, appreciation, or judgement for each model is summarized. The development of a unified framework for the neurobiological mechanisms underlying the aesthetic perception of visual art and the validation of this framework via mathematical simulation is an interesting challenge in neuroaesthetics research. This review aims to provide information regarding the most promising proposals for bridging the gap between visual information processing and brain activity involved in aesthetic appreciation.

Neural substrates of embodied natural beauty and social endowed beauty: An fMRI study

What are the neural mechanisms underlying beauty based on objective parameters and beauty based on subjective social construction? This study scanned participants with fMRI while they performed aesthetic judgments on concrete pictographs and abstract oracle bone scripts. Behavioral results showed both pictographs and oracle bone scripts were judged to be more beautiful when they referred to beautiful objects and positive social meanings, respectively. Imaging results revealed regions associated with perceptual, cognitive, emotional and reward processing were commonly activated both in beautiful judgments of pictographs and oracle bone scripts. Moreover, stronger activations of orbitofrontal cortex (OFC) and motor-related areas were found in beautiful judgments of pictographs, whereas beautiful judgments of oracle bone scripts were associated with putamen activity, implying stronger aesthetic experience and embodied approaching for beauty were elicited by the pictographs. In contrast, only visual processing areas were activated in the judgments of ugly pictographs and negative oracle bone scripts. Results provide evidence that the sense of beauty is triggered by two processes: one based on the objective parameters of stimuli (embodied natural beauty) and the other based on the subjective social construction (social endowed beauty).

Complementarity As Generative Principle: A Thought Pattern for Aesthetic Appreciations and Cognitive Appraisals in General

In experimental aesthetics the relationship between the arts and cognitive neuroscience has gained particular interest in recent years. But has cognitive neuroscience indeed something to offer when studying the arts? Here we present a theoretical frame within which the concept of complementarity as a generative or creative principle is proposed; neurocognitive processes are characterized by the duality of complementary activities like bottom-up and top-down control, or logistical functions like temporal control and content functions like perceptions in the neural machinery. On that basis a thought pattern is suggested for aesthetic appreciations and cognitive appraisals in general. This thought pattern is deeply rooted in the history of philosophy and art theory since antiquity; and complementarity also characterizes neural operations as basis for cognitive processes. We then discuss some challenges one is confronted with in experimental aesthetics; in our opinion, one serious problem is the lack of a taxonomy of functions in psychology and neuroscience which is generally accepted. This deficit makes it next to impossible to develop acceptable models which are similar to what has to be modeled. Another problem is the severe language bias in this field of research as knowledge gained in many languages over the ages remains inaccessible to most scientists. Thus, an inspection of research results or theoretical concepts is necessarily too narrow. In spite of these limitations we provide a selective summary of some results and viewpoints with a focus on visual art and its appreciation. It is described how questions of art and aesthetic appreciations using behavioral methods and in particular brain-imaging techniques are analyzed and evaluated focusing on such issues like the representation of artwork or affective experiences. Finally, we emphasize complementarity as a generative principle on a practical level when artists and scientists work directly together which can lead to new insights and broader perspectives on both sides.

Different contributions of visual and motor brain areas during liking judgments of same- and different-gender bodies

Previous neuroimaging studies have shown that body aesthetic appreciation involves the activation of both visual and motor areas, supporting a role of sensorimotor embodiment in aesthetic processing. Causative evidence, however, that neural activity in these areas is crucial for reliable aesthetic body appreciation has so far provided only for extrastriate body area (EBA), while the functional role played by premotor regions remained less clear. Here, we applied short trains of repetitive transcranial magnetic stimulation (rTMS) over bilateral dorsal premotor cortex (dPMC) and EBA during liking judgments of female and male bodies varying in weight and implied motion. We found that both dPMC and EBA are necessary for aesthetic body appreciation, but their relative contribution depends on the model's gender. While dPMC-rTMS decreased the liking judgments of same-, but not of different-gender models, EBA-rTMS increased the liking judgments of different-, but not of same-gender models. Relative contributions of motor and visual areas may reflect processing of diverse aesthetic properties, respectively implied motion vs. body form, and/or greater sensorimotor embodiment of same- vs. different-gender bodies. Results suggest that aesthetic body processing is subserved by a network of motor and visual areas, whose relative contribution may depend on the specific stimulus and task.

Processing emotion from abstract art in frontotemporal lobar degeneration

art may signal emotions independently of a biological or social carrier: it might therefore constitute a test case for defining brain mechanisms of generic emotion decoding and the impact of disease states on those mechanisms. This is potentially of particular relevance to diseases in the frontotemporal lobar degeneration (FTLD) spectrum. These diseases are often led by emotional impairment despite retained or enhanced artistic interest in at least some patients. However, the processing of emotion from art has not been studied systematically in FTLD. Here we addressed this issue using a novel emotional valence matching task on abstract paintings in patients representing major syndromes of FTLD (behavioural variant frontotemporal dementia, n=11; sematic variant primary progressive aphasia (svPPA), n=7; nonfluent variant primary progressive aphasia (nfvPPA), n=6) relative to healthy older individuals (n=39). Performance on art emotion valence matching was compared between groups taking account of perceptual matching performance and assessed in relation to facial emotion matching using customised control tasks. Neuroanatomical correlates of art emotion processing were assessed using voxel-based morphometry of patients' brain MR images. All patient groups had a deficit of art emotion processing relative to healthy controls; there were no significant interactions between syndromic group and emotion modality. Poorer art emotion valence matching performance was associated with reduced grey matter volume in right lateral occopitotemporal cortex in proximity to regions previously implicated in the processing of dynamic visual signals. Our findings suggest that abstract art may be a useful model system for investigating mechanisms of generic emotion decoding and aesthetic processing in neurodegenerative diseases.

A TMS study on the contribution of visual area V5 to the perception of implied motion in art and its appreciation

Over the last decade, researchers have sought to understand the brain mechanisms involved in the appreciation of art. Previous studies reported an increased activity in sensory processing regions for artworks that participants find more appealing. Here we investigated the intriguing possibility that activity in cortical area V5-a region in the occipital cortex mediating physical and implied motion detection-is related not only to the generation of a sense of motion from visual cues used in artworks, but also to the appreciation of those artworks. Art-naïve participants viewed a series of paintings and quickly judged whether or not the paintings conveyed a sense of motion, and whether or not they liked them. Triple-pulse TMS applied over V5 while viewing the paintings significantly decreased the perceived sense of motion, and also significantly reduced liking of abstract (but not representational) paintings. Our data demonstrate that V5 is involved in extracting motion information even when the objects whose motion is implied are pictorial representations (as opposed to photographs or film frames), and even in the absence of any figurative content. Moreover, our study suggests that, in the case of untrained people, V5 activity plays a causal role in the appreciation of abstract but not of representational art.