Perception of direct vs. averted gaze in portrait paintings: An fMRI and eye-tracking study

The Unique Cost of Human Eye Gaze in Cognitive Control: Being Human-Specific and Body-Related?

This study investigated the eye gaze cost in cognitive control and whether it is human-specific and body-related. In Experiment 1, we explored whether there was a cost of human eye gaze in cognitive control and extended it by focusing on the role of emotion in the cost. Stroop effect was found to be larger in eye-gaze condition than vertical grating condition, and to be comparable across positive, negative, and neutral trials. In Experiment 2, we explored whether the eye gaze cost in cognitive control was limited to human eyes. No larger Stroop effect was found in feline eye-gaze condition, neither the modulating role of emotion. In Experiment 3, we explored whether the mouth could elicit a cost in Stroop effect. Stroop effect was not significantly larger in mouth condition compared to vertical grating condition, nor across positive, negative, and neutral conditions. The results suggest that: (1) There is a robust cost of eye gaze in cognitive control; (2) Such eye-gaze cost was specific to human eyes but not to animal eyes; (3) Only human eyes could have such eye-gaze costs but not human mouth. This study supported the notion that presentation of social cues, such as human eyes, could influence attentional processing, and provided preliminary evidence that the human eye plays an important role in cognitive processing.

Holistic processing of gaze cues during interocular suppression

Direct eye contact is preferentially processed over averted gaze and has been shown to gain privileged access to conscious awareness during interocular suppression. This advantage might be driven by local features associated with direct gaze, such as the amount of visible sclera. Alternatively, a holistic representation of gaze direction, which depends on the integration of head and eye information, might drive the effects. Resolving this question is interesting because it speaks to whether the processing of higher-level social information in the visual system, such as facial characteristics that rely on holistic processing, is dependent on conscious awareness. The Wollaston Illusion is a visual illusion that allows researchers to manipulate perceived gaze direction while keeping local eye features constant. Here we used this illusion to elucidate the driving factor facilitating the direct gaze advantage during interocular suppression. Using continuous flash suppression, we rendered Wollaston faces with direct and averted gaze (initially) invisible. These faces conveyed different gaze directions but contained identical eye regions. Our results showed clear evidence for a direct gaze advantage with Wollaston faces, indicating that holistic representations of gaze direction may drive the direct gaze advantage during interocular suppression.

Human face and gaze perception is highly context specific and involves bottom-up and top-down neural processing

This review summarizes human perception and processing of face and gaze signals. Face and gaze signals are important means of non-verbal social communication. The review highlights that: (1) some evidence is available suggesting that the perception and processing of facial information starts in the prenatal period; (2) the perception and processing of face identity, expression and gaze direction is highly context specific, the effect of race and culture being a case in point. Culture affects by means of experiential shaping and social categorization the way in which information on face and gaze is collected and perceived; (3) face and gaze processing occurs in the so-called 'social brain'. Accumulating evidence suggests that the processing of facial identity, facial emotional expression and gaze involves two parallel and interacting pathways: a fast and crude subcortical route and a slower cortical pathway. The flow of information is bi-directional and includes bottom-up and top-down processing. The cortical networks particularly include the fusiform gyrus, superior temporal sulcus (STS), intraparietal sulcus, temporoparietal junction and medial prefrontal cortex.

How Neuroimaging Can Aid the Interpretation of Art

Cognitive neuroscience of art continues to be criticized for failing to provide interesting results about art itself. In particular, results of brain imaging experiments have not yet been utilized in interpretation of particular works of art. Here we revisit a recent study in which we explored the neuronal and behavioral response to painted portraits with a direct versus an averted gaze. We then demonstrate how fMRI results can be related to the art historical interpretation of a specific painting. The evidentiary status of neuroimaging data is not different from any other extra-pictorial facts that art historians uncover in their research and relate to their account of the significance of a work of art. They are not explanatory in a strong sense, yet they provide supportive evidence for the art writer’s inference about the intended meaning of a given work. We thus argue that brain imaging can assume an important role in the interpretation of particular art works.

Seeking the "Beauty Center" in the Brain: A Meta-Analysis of fMRI Studies of Beautiful Human Faces and Visual Art

During the past two decades, cognitive neuroscientists have sought to elucidate the common neural basis of the experience of beauty. Still, empirical evidence for such common neural basis of different forms of beauty is not conclusive. To address this question, we performed an activation likelihood estimation (ALE) meta-analysis on the existing neuroimaging studies of beauty appreciation of faces and visual art by nonexpert adults (49 studies, 982 participants, meta-data are available at https://osf.io/s9xds/ ). We observed that perceiving these two forms of beauty activated distinct brain regions: While the beauty of faces convergently activated the left ventral striatum, the beauty of visual art convergently activated the anterior medial prefrontal cortex (aMPFC). However, a conjunction analysis failed to reveal any common brain regions for the beauty of visual art and faces. The implications of these results are discussed.

Temporo-parietal contribution to the mental representations of self/other face

Face recognition requires comparing the current visual input with stored mental representations of faces. Based on its role in visual recognition of faces and mental representation of the body, we hypothesized that the right temporo-parietal junction (rTPJ) could be implicated also in processing mental representation of faces. To test this hypothesis, we asked 30 neurotypical participants to perform mental rotation (laterality judgment of rotated pictures) of self- and other-face images, before and after the inhibition of rTPJ through repetitive transcranial magnetic stimulation. After inhibition of rTPJ the mental rotation of self-face was slower than other-face. In the control condition the mental rotation of self/other faces was not significantly different. This supports that the role of rTPJ extends to mental representation of faces, specifically for the self. Since the experimental task did not require to explicitly recognize identity, we propose that unconscious identity attribution affects also the mental representation of faces. The present study offers insights on the involvement rTPJ in mental representation of faces and proposes that the neural substrate dedicated to mental representation of faces goes beyond the traditional visual and memory areas.

The Display Makes a Difference: A Mobile Eye Tracking Study on the Perception of Art Before and After a Museum's Rearrangement

There is increasing awareness that the perception of art is affected by the way it is presented. In 2018, the Austrian Gallery Belvedere redisplayed its permanent collection. Our multidisciplinary team seized this opportunity to investigate the viewing behavior of specific artworks both before and after the museum's rearrangement. In contrast to previous mobile eye tracking (MET) studies in museums, this study benefits from the comparison of two realistic display conditions (without any research interference), an unconstrained study design (working with regular museum visitors), and a large data sample (comprising 259 participants). We employed a mixed-method approach that combined mobile eye tracking, subjective mapping (a drawing task in conjunction with an open interview), and a questionnaire in order to relate gaze patterns to processes of meaning-making. Our results show that the new display made a difference in that it 1) generally increased the viewing times of the artworks; 2) clearly extended the reading times of labels; and 3) deepened visitors' engagement with the artworks in their exhibition reflections. In contrast, interest in specific artworks and art form preferences proved to be robust and independent of presentation modes.