Why and How Should Cognitive Science Care about Aesthetics?

Emotional palette: a computational mapping of aesthetic experiences evoked by visual art

Despite the evolutionary history and cultural significance of visual art, the structure of aesthetic experiences it evokes has only attracted recent scientific attention. What kinds of experience does visual art evoke? Guided by Semantic Space Theory, we identify the concepts that most precisely describe people's aesthetic experiences using new computational techniques. Participants viewed 1457 artworks sampled from diverse cultural and historical traditions and reported on the emotions they felt and their perceived artwork qualities. Results show that aesthetic experiences are high-dimensional, comprising 25 categories of feeling states. Extending well beyond hedonism and broad evaluative judgments (e.g., pleasant/unpleasant), aesthetic experiences involve emotions of daily social living (e.g., "sad", "joy"), the imagination (e.g., "psychedelic", "mysterious"), profundity (e.g., "disgust", "awe"), and perceptual qualities attributed to the artwork (e.g., "whimsical", "disorienting"). Aesthetic emotions and perceptual qualities jointly predict viewers' liking of the artworks, indicating that we conceptualize aesthetic experiences in terms of the emotions we feel but also the qualities we perceive in the artwork. Aesthetic experiences are often mixed and lie along continuous gradients between categories rather than within discrete clusters. Our collection of artworks is visualized within an interactive map ( https://barradeau.com/2021/emotions-map/ ), revealing the high-dimensional space of aesthetic experiences associated with visual art.

Bad beauty: Aesthetic judgments are influenced by references to morally contentious content in photographs

Affective responses can influence evaluative judgments, but how are subjective beauty ratings affected by references to morally contentious elements in aesthetic stimuli? In an online experiment (N = 460), we investigated the relationship between two types of descriptive texts (Neutral vs. Negative) and the beauty ratings of 25 photographs that depict sources of environmental pollution. For each photograph, the neutral descriptive text contained general information, whereas the negative descriptive text addressed the pollution source. Further, we explored whether this relationship is mediated by changes in positive and negative affect, and how it interacts with the biospheric values of participants. Our results showed that (1) participants in the Negative Condition rated the photographs as less beautiful than in the Neutral Condition, (2) this relationship was partially mediated by changes in negative affect, and (3) in the Negative Condition, participants with higher levels of biospheric values rated the photographs as less beautiful. Our results indicate that individual values, as well as affective responses induced by aesthetic stimuli, directly influence subjective beauty. This aligns with current theoretical frameworks and fills a gap in experimental research. Finally, we discuss limitations and directions for future studies. PSYCHINFO CLASSIFICATION CODE: 2340.

Selective interference of liking and beauty judgements on affective working memory and visual working memory

Aesthetic processing has profound implications for everyday life. Although liking and beauty judgements are outcomes of aesthetic processing and derive from a common hedonic value, there may be some differences in how they engage working memory. This study used maintenance and aesthetic judgement tasks to examine whether liking and beauty judgements make different demands on domain-specific working memory resources. Sixty participants (30 males) were instructed to rate picture for liking or beauty while maintaining the subjective affect or brightness of the presented pictures. Results indicated that liking judgements selectively impaired participants' performance in the affect maintenance task, and beauty judgements selectively impaired their performance in the brightness maintenance task. In addition, maintaining affect and brightness feelings in the mind increased image ratings on beauty but not on liking. Our findings provide evidence that liking judgements draw more on affective working memory resources than beauty judgements, and beauty judgements draw more on visual working memory resources than liking judgements.

A Gaze into the Eyebrow Standards of Asian Versus Caucasian Women

BACKGROUND

Eyebrow position affects perceived facial expression and youthfulness, and its modification is a key component of facial rejuvenation.

OBJECTIVE

This investigation aimed to assess the preferred vertical eyebrow position, apex location, and eyebrow shape in Caucasian and Asian individuals and to analyze gaze patterns during aesthetic judgment using eye-tracking technology.

MATERIALS AND METHODS

The study included 76 Asian and Caucasian volunteers with no medical background. Eye movements were captured with a Tobii Pro Nano eye-tracker. Participants viewed AI-generated images of Caucasian and Asian females with varied eyebrow positions (ratios 1:1.3 to 1:2.5), shapes (angles 8° to 20°), and apex positions. Aesthetic preferences were rated on a 5-point Likert scale. Eye-tracking metrics and aesthetic ratings were statistically analyzed using ANOVA and bivariate correlations.

RESULTS

Both genders across ethnicities preferred a moderate eyebrow position ratio of 1:1.6. For eyebrow shapes, a 12° angle received the highest ratings, while extremes were less favored, indicating a preference for moderately curved eyebrows. The most appealing apex position was above the lateral canthus for Asians, and halfway between the lateral limbus and lateral canthus for Caucasians. Eye-tracking revealed longer fixations on unattractive features, suggesting more complex cognitive processing, while attractive features were processed more efficiently.

CONCLUSION

The study revealed that aesthetic preferences for eyebrow features are influenced by both ethnic background and gender, with a general preference toward moderately curved eyebrows and subtle variations in preferred positions. These findings suggest a need for culturally sensitive approaches in facial aesthetic procedures and highlight the potential of eye-tracking technology to enhance surgical planning. Surgeons are advised to adopt a conservative, patient-centered approach when modifying eyebrow features, considering individual and cultural aesthetics to maximize patient satisfaction.

LEVEL OF EVIDENCE V

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Disinterested attention and aesthetic experience

Research studies have focused on stimulus features as well as internal or contextual factors to understand aesthetic experience. An important question is the nature of processes that are involved in all aesthetic experiences. One possible process is "disinterested attention" that may be necessary for one to have an aesthetic experience. This can be contrasted with a perceiver who attends to an object or event only in a goal-directed or instrumental or practical manner. It has been claimed that "disinterested attention" involves attention being focused on the aesthetic object or event while being distributed across its features or components. Other ideas have focused on better reallocation of attention over time. The potential nature of attention could be linked to aspects of mindfulness. Studies looking at the effects of mindfulness on aesthetic experience have shown it increases the frequency of having aesthetic experience. The nature of attention needed for an aesthetic experience can be thought of as a form of generosity that could be linked to the notions of a gift. Mindful attention to objects or life as a gift, perhaps enables us to see objects and perhaps life itself in non-instrumental terms resulting in an aesthetic experience.

On the connection between creativity and aesthetics

Within cognitive psychology, there are separate experimental fields devoted to the study of creativity, on the one hand, and aesthetics, on the other, with virtually no cross-talk between them. In this article, I propose a means of uniting creativity and aesthetics via a consideration of the mechanisms of cultural evolution. I call this the creativity/aesthetics cycle. The basic tenet of the model is that creativity and aesthetics mediate, respectively, the processes of variation (production) and selection (perception or consumption) in evolutionary models of culture. By means of this cycle, creators produce works that they hope will be evaluated positively by consumers, where such appraisals ultimately feed back to influence the subsequent decision-making processes of creators. I discuss the implications of this model for the fields of creativity and aesthetics.

Binocularly suppressed stimuli induce brain activities related to aesthetic emotions

Introduction

Aesthetic emotions are a class of emotions aroused by evaluating aesthetically appealing objects or events. While evolutionary aesthetics suggests the adaptive roles of these emotions, empirical assessments are lacking. Previous neuroscientific studies have demonstrated that visual stimuli carrying evolutionarily important information induce neural responses even when presented non-consciously. To examine the evolutionary importance of aesthetic emotions, we conducted a neuroscientific study using magnetoencephalography (MEG) to measure induced neural responses to non-consciously presented portrait paintings categorised as biological and non-biological and examined associations between the induced responses and aesthetic ratings.

Methods

MEG and pre-rating data were collected from 23 participants. The pre-rating included visual analogue scales for object saliency, facial saliency, liking, and beauty scores, in addition to 'biologi-ness,' which was used for subcategorising stimuli into biological and non-biological. The stimuli were presented non-consciously using a continuous flash suppression paradigm or consciously using binocular presentation without flashing masks, while dichotomic behavioural responses were obtained (beauty or non-beauty). Time-frequency decomposed MEG data were used for correlation analysis with pre-rating scores for each category.

Results

Behavioural data revealed that saliency scores of non-consciously presented stimuli influenced dichotomic responses (beauty or non-beauty). MEG data showed that non-consciously presented portrait paintings induced spatiotemporally distributed low-frequency brain activities associated with aesthetic ratings, which were distinct between the biological and non-biological categories and conscious and non-conscious conditions.

Conclusion

Aesthetic emotion holds evolutionary significance for humans. Neural pathways are sensitive to visual images that arouse aesthetic emotion in distinct ways for biological and non-biological categories, which are further influenced by consciousness. These differences likely reflect the diversity in mechanisms of aesthetic processing, such as processing fluency, active elaboration, and predictive processing. The aesthetic processing of non-conscious stimuli appears to be characterised by fluency-driven affective processing, while top-down regulatory processes are suppressed. This study provides the first empirical evidence supporting the evolutionary significance of aesthetic processing.

Perceptual (but not acoustic) features predict singing voice preferences

Why do we prefer some singers to others? We investigated how much singing voice preferences can be traced back to objective features of the stimuli. To do so, we asked participants to rate short excerpts of singing performances in terms of how much they liked them as well as in terms of 10 perceptual attributes (e.g.: pitch accuracy, tempo, breathiness). We modeled liking ratings based on these perceptual ratings, as well as based on acoustic features and low-level features derived from Music Information Retrieval (MIR). Mean liking ratings for each stimulus were highly correlated between Experiments 1 (online, US-based participants) and 2 (in the lab, German participants), suggesting a role for attributes of the stimuli in grounding average preferences. We show that acoustic and MIR features barely explain any variance in liking ratings; in contrast, perceptual features of the voices achieved around 43% of prediction. Inter-rater agreement in liking and perceptual ratings was low, indicating substantial (and unsurprising) individual differences in participants' preferences and perception of the stimuli. Our results indicate that singing voice preferences are not grounded in acoustic attributes of the voices per se, but in how these features are perceptually interpreted by listeners.

The unexplored territory of aesthetic needs and the development of the Aesthetic Needs Scale

Human needs, and their fulfillment, are the building blocks of human development, personality, and well-being. However, no published paper in the field of psychology has focused on exploring aesthetic needs. Maslow (1986) gave the topic little more than a paragraph; and Dweck [1], in her elegant Unified Theory of Motivation, Personality, and Development, never mentions aesthetic needs. The aim of this article is to describe developing a scale for measuring the intensity of aesthetic needs. The structure, psychometric properties, and criterion-related validity of the scale were verified with three independent samples (total N = 592). The results of an EFA and two CFAs indicated a three-factor structure: 1) the need to aestheticize everyday life (aesthetic experiences of everyday objects and events unrelated to art, such as the presentation of food or the appearance of a workspace, etc.); 2) the need for contact with aesthetic creations (the arts); 3) the need to aestheticize the built and natural environments (urban spaces, architecture, parks, wild nature, etc.). In addition, our criterion-related convergent validity studies have shown that people with high aesthetic needs are characterized by experiencing more intense experiences in contact with works of art, have higher aesthetic competence in art, are more intensely involved in four forms of beauty, have a higher ability to integrate beauty, a stronger trait gratitude, curiosity about nature, greater sensitivity to disgust, and the need for internal and external stimulation. This scale may prove useful in research on individual differences and the psychology of aesthetics.

The mediating effect of the need for cognition between aesthetic experiences and aesthetic competence in art

Although the role of aesthetics and aesthetic education in everyday life was discussed as early as the ancient philosophers, the psychological mechanisms shaping the aesthetic quotient have hardly been investigated by empirical studies. The aim of this study was to examine the direct relationship between experience and aesthetic competence, and the mediating role of need for cognition. The study involved 201 Polish adults, aged 18 to 76 (M = 26.40; SD = 11.89), 65% of whom were women. The respondents completed anonymous questionnaires on an online platform. The surveys included a metric, the Aesthetic Competence Scale (ACS), the Aesthetic Experience Questionnaire (AEQ) and the Need for Cognition Scale (NCS). A positive correlation coefficient was obtained between all three variables studied, with need for cognition acting as a mediator in the relationship between experience and aesthetic competence. The findings indicate that individuals reporting intense aesthetic experiences have a higher aesthetic competence if this relationship is mediated by a high need for cognitive effort.

Interaction between creation and appreciation: How linguistic art creation impacts the aesthetic evaluation of haiku poetry and ink paintings

In the psychology of aesthetics, compared with appreciation, there are fewer studies on art creation. This study aims to examine the influence of art creation on appreciation using haiku poetry with reference to the Mirror Model-a process model combining creation and appreciation. Although the model has been primarily used to examine visual arts, we examine its applicability to linguistic arts. In addition, we use ink painting to examine whether a generalisation across artistic genres can occur. The 115 participants were divided into two conditions-creation and control. The former created haiku before and after appreciation, while the latter did not create any haiku. The results showed no improvement in evaluation through creation. Additionally, recognising the difficulty related to creation leads to aesthetic evaluation, and this relationship is mediated by awe. These results expand the existing information regarding the Mirror Model in terms of the different art genres.

Order and change in art: towards an active inference account of aesthetic experience

How to account for the power that art holds over us? Why do artworks touch us deeply, consoling, transforming or invigorating us in the process? In this paper, we argue that an answer to this question might emerge from a fecund framework in cognitive science known as predictive processing (a.k.a. active inference). We unpack how this approach connects sense-making and aesthetic experiences through the idea of an 'epistemic arc', consisting of three parts (curiosity, epistemic action and aha experiences), which we cast as aspects of active inference. We then show how epistemic arcs are built and sustained by artworks to provide us with those satisfying experiences that we tend to call 'aesthetic'. Next, we defuse two key objections to this approach; namely, that it places undue emphasis on the cognitive component of our aesthetic encounters-at the expense of affective aspects-and on closure and uncertainty minimization (order)-at the expense of openness and lingering uncertainty (change). We show that the approach offers crucial resources to account for the open-ended, free and playful behaviour inherent in aesthetic experiences. The upshot is a promising but deflationary approach, both philosophically informed and psychologically sound, that opens new empirical avenues for understanding our aesthetic encounters. This article is part of the theme issue 'Art, aesthetics and predictive processing: theoretical and empirical perspectives'.

Aesthetics and predictive processing: grounds and prospects of a fruitful encounter

In the last few years, a remarkable convergence of interests and results has emerged between scholars interested in the arts and aesthetics from a variety of perspectives and cognitive scientists studying the mind and brain within the predictive processing (PP) framework. This convergence has so far proven fruitful for both sides: while PP is increasingly adopted as a framework for understanding aesthetic phenomena, the arts and aesthetics, examined under the lens of PP, are starting to be seen as important windows into our mental functioning. The result is a vast and fast-growing research programme that promises to deliver important insights into our aesthetic encounters as well as a wide range of psychological phenomena of general interest. Here, we present this developing research programme, describing its grounds and highlighting its prospects. We start by clarifying how the study of the arts and aesthetics encounters the PP picture of mental functioning (§1). We then go on to outline the prospects of this encounter for the fields involved: philosophy and history of art (§2), psychology of aesthetics and neuroaesthetics (§3) and psychology and neuroscience more generally (§4). The upshot is an ambitious but well-defined framework within which aesthetics and cognitive science can partner up to illuminate crucial aspects of the human mind. This article is part of the theme issue 'Art, aesthetics and predictive processing: theoretical and empirical perspectives'.

Genetic effects on variability in visual aesthetic evaluations are partially shared across visual domains

The aesthetic values that individuals place on visual images are formed and shaped over a lifetime. However, whether the formation of visual aesthetic value is solely influenced by environmental exposure is still a matter of debate. Here, we considered differences in aesthetic value emerging across three visual domains: abstract images, scenes, and faces. We examined variability in two major dimensions of ordinary aesthetic experiences: taste-typicality and evaluation-bias. We build on two samples from the Australian Twin Registry where 1547 and 1231 monozygotic and dizygotic twins originally rated visual images belonging to the three domains. Genetic influences explained 26% to 41% of the variance in taste-typicality and evaluation-bias. Multivariate analyses showed that genetic effects were partially shared across visual domains. Results indicate that the heritability of major dimensions of aesthetic evaluations is comparable to that of other complex social traits, albeit lower than for other complex cognitive traits. The exception was taste-typicality for abstract images, for which we found only shared and unique environmental influences. Our study reveals that diverse sources of genetic and environmental variation influence the formation of aesthetic value across distinct visual domains and provides improved metrics to assess inter-individual differences in aesthetic value.

About the Need for a More Adequate Way to Get an Understanding of the Experiencing of Aesthetic Items

We live in times when neuroscientific methods have become standard methods that many researchers can easily use. While this offers excellent opportunities to understand brain activities linked with aesthetic processing, we face the problem of using sophisticated techniques without a proper and valid theoretical foundation of aesthetics. A further problem arises from sophisticated methods often demanding strict constraints in presenting and experiencing aesthetic stimuli. However, when experiencing aesthetic items, contextual factors matter, e.g., social and situational affordances are essential in triggering a true and deep "Kunsterlebnis" (Experience of Art). Additionally, in Art, it is often not the artwork as an object that matters but the close relationship with and the processing of the artwork. However, art is only one facet of the whole aesthetic domain, beside, e.g., design, architecture, everyday aesthetics, dance, literature, music, and opera. In the present paper, I propose a dynamic and holistic aesthetic perspective that includes the respective context, situation, cognitive and affective traits and state of the beholder, ongoing processes of understanding, Zeitgeist, and other cultural factors, which can be applied to different aesthetic domains. When ignoring such temporal and dynamic factors, we will not understand the qualia of aesthetic processing. These considerations might help researchers in the field of aesthetics to better understand the experiencing of aesthetic items of all kinds-if we ignore these factors, we are missing the essence of experiencing aesthetic items, especially artworks. We aim to sensitize and inform readers about these ideas to inspire a deeper understanding of experiencing aesthetic items and the advancement of a theoretical framework addressing the experiencing of aesthetics from different domains.

How being perceived to be an artist boosts feelings of attraction in others

Music production is a universal phenomenon reaching far back into our past. Given its ubiquity, evolution theorists have postulated adaptive functions for music, such as strengthening in-group cohesion, intimidating enemies, or promoting child bonding. Here, we focus on a longstanding Darwinian hypothesis, suggesting that music production evolved as a vehicle to display an individual's biological fitness in courtship competition, thus rendering musicality a sexually selected trait. We also extend this idea to visual artists. In our design, we employed different versions of naturalistic portraits that manipulated the presence or absence of visual cues suggesting that the person was an artist or a non-artist (e.g., farmer, teacher, physician). Participants rated each portrayed person's appeal on multiple scales, including attractiveness, interestingness, sympathy, and trustworthiness. Difference scores between portrait versions revealed the impact of the artistic/non-artistic visual cues. We thus tested Darwin's hypothesis on both a within-subject and within-stimulus level. In addition to this implicit approach, we collected explicit ratings on the appeal of artists versus non-artists. The results demonstrate divergent findings for both types of data, with only the explicit statements corroborating Darwin's hypothesis. We discuss this divergence in detail, along with the particular role of interestingness revealed by the implicit data.

Changing What You Like: Modifying Contour Properties Shifts Aesthetic Valuations of Scenes

To what extent do aesthetic experiences arise from the human ability to perceive and extract meaning from visual features? Ordinary scenes, such as a beach sunset, can elicit a sense of beauty in most observers. Although it appears that aesthetic responses can be shared among humans, little is known about the cognitive mechanisms that underlie this phenomenon. We developed a contour model of aesthetics that assigns values to visual properties in scenes, allowing us to predict aesthetic responses in adults from around the world. Through a series of experiments, we manipulate contours to increase or decrease aesthetic value while preserving scene semantic identity. Contour manipulations directly shift subjective aesthetic judgments. This provides the first experimental evidence for a causal relationship between contour properties and aesthetic valuation. Our findings support the notion that visual regularities underlie the human capacity to derive pleasure from visual information.

What kind of impacts can artwork have on viewers? Establishing a taxonomy for aesthetic impacts

What kinds of impacts can visual art have on a viewer? To identify potential art impacts, we recruited five aesthetics experts from different academic disciplines: art history, neuroscience, philosophy, psychology and theology. Together, the group curated a set of terms that corresponded to descriptive features (124 terms) and cognitive-affective impacts (69 terms) of artworks. Using these terms as prompts, participants (n = 899) were given one minute to generate words for each term related to how an artwork looked (descriptive features) or made them think or feel (cognitive-affective impacts). Using network psychometric approaches, we identified terms that were semantically similar based on participants' responses and applied hierarchical exploratory graph analysis to map the relationships between the terms. Our analyses identified 17 descriptive dimensions, which could be further reduced to 5, and 11 impact dimensions, which could be further reduced to 4. The resulting taxonomy demonstrated overlap between the descriptive and impact networks as well as consistency with empirical evidence. This taxonomy could serve as the foundation to empirically evaluate art's impacts on viewers.

Neuroaesthetic exploration on the cognitive processing behind repeating graphics

Repeating graphics are common research objects in modern design education. However, we do not exactly know the attentional processes underlying graphic artifacts consisting of repeating rhythms. In this experiment, the event-related potential, a neuroscientific measure, was used to study the neural correlates of repeating graphics within graded orderliness. We simulated the competitive identification process of people recognizing artifacts with graded repeating rhythms from a scattered natural environment with the oddball paradigm. In the earlier attentional processing related to the P2 component around the Fz electrode within the 150-250 ms range, a middle-grade repeating rhythm (Target 1) did not show a difference from a high-grade repeating rhythm (Target 2). However, in the later cognitive processes related to the P3b component around the Pz electrode within the 300-450 ms range, Target 1 had longer peak latency than Target 2, based on similar waveforms. Thus, we may suppose that the arrangement of the repeating graphics did not influence the earlier attentional processing but affected the later cognitive part, such as the categorization task in the oddball paradigm. Furthermore, as evidenced by the standard deviation wave across the trials, we suggest that the growing standard deviation value might represent the gradual loss of attentional focus to the task after the stimulus onset and that the zero-growth level may represent similar brain activity between trials.

Mirror neurons 30 years later: implications and applications

Mirror neurons (MNs) were first described in a seminal paper in 1992 as a class of monkey premotor cells discharging during both action execution and observation. Despite their debated origin and function, recent studies in several species, from birds to humans, revealed that beyond MNs properly so called, a variety of cell types distributed among multiple motor, sensory, and emotional brain areas form a 'mirror mechanism' more complex and flexible than originally thought, which has an evolutionarily conserved role in social interaction. Here, we trace the current limits and envisage the future trends of this discovery, showing that it inspired translational research and the development of new neurorehabilitation approaches, and constitutes a point of no return in social and affective neuroscience.

A generalised semantic cognition account of aesthetic experience

Given that aesthetic experiences typically involve extracting meaning from environment, we believe that semantic cognition research has much to offer the field of neuroaesthetics. In the current paper, we propose a generalised framework that is inspired by the semantic cognition literature and that treats aesthetic experience as just one example of how meaning accumulates. According to our framework, aesthetic experiences are underpinned by the same cognitive and brain systems that are involved in deriving meaning from the environment in general, such as modality-specific conceptual representations and controlled processes for retrieving the appropriate type of information. Our generalised semantic cognition view of aesthetic experience has substantial implications for theory development: it leads to novel, falsifiable predictions and it reconfigures foundational assumptions regarding the structure of the cognitive and brain systems that may be involved in aesthetic experiences.

Aesthetic appraisals of literary style and emotional intensity in narrative engagement are neurally dissociable

Humans are deeply affected by stories, yet it is unclear how. In this study, we explored two aspects of aesthetic experiences during narrative engagement - literariness and narrative fluctuations in appraised emotional intensity. Independent ratings of literariness and emotional intensity of two literary stories were used to predict blood-oxygen-level-dependent signal changes in 52 listeners from an existing fMRI dataset. Literariness was associated with increased activation in brain areas linked to semantic integration (left angular gyrus, supramarginal gyrus, and precuneus), and decreased activation in bilateral middle temporal cortices, associated with semantic representations and word memory. Emotional intensity correlated with decreased activation in a bilateral frontoparietal network that is often associated with controlled attention. Our results confirm a neural dissociation in processing literary form and emotional content in stories and generate new questions about the function of and interaction between attention, social cognition, and semantic systems during literary engagement and aesthetic experiences.

Mindfulness Meditation Improves Musical Aesthetic Emotion Processing in Young Adults

This study explored the behavioral and neural correlates of mindfulness meditation improvement in musical aesthetic emotion processing (MAEP) in young adults, using the revised across-modal priming paradigm. Sixty-two participants were selected from 652 college students who assessed their mindfulness traits using the Mindful Attention Awareness Scale (MAAS). According to the 27% ratio of the high and low total scores, participants were divided into two subgroups: high trait group (n = 31) and low trait group (n = 31). Participants underwent facial recognition and emotional arousal tasks while listening to music, and simultaneously recorded event-related potentials (ERPs). The N400, P3, and late positive component (LPC) were investigated. The behavioral results showed that mindfulness meditation improved executive control abilities in emotional face processing and effectively regulated the emotional arousal of repeated listening to familiar music among young adults. These improvements were associated with positive changes in key neural signatures of facial recognition (smaller P3 and larger LPC effects) and emotional arousal (smaller N400 and larger LPC effects). Our results show that P3, N400, and LPC are important neural markers for the improvement of executive control and regulating emotional arousal in musical aesthetic emotion processing, providing new evidence for exploring attention training and emotional processing. We revised the affecting priming paradigm and E-prime 3.0 procedure to fulfill the simultaneous measurement of music listening and experimental tasks and provide a new experimental paradigm to simultaneously detect the behavioral and neural correlates of mindfulness-based musical aesthetic processing.

Neural underpinnings of morality judgment and moral aesthetic judgment

Morality judgment usually refers to the evaluation of moral behavior`s ability to affect others` interests and welfare, while moral aesthetic judgment often implies the appraisal of moral behavior's capability to provide aesthetic pleasure. Both are based on the behavioral understanding. To our knowledge, no study has directly compared the brain activity of these two types of judgments. The present study recorded and analyzed brain activity involved in the morality and moral aesthetic judgments to reveal whether these two types of judgments differ in their neural underpinnings. Results reveled that morality judgment activated the frontal, parietal and occipital cortex previously reported for motor representations of behavior. Evaluation of goodness and badness showed similar patterns of activation in these brain regions. In contrast, moral aesthetic judgment elicited specific activations in the frontal, parietal and temporal cortex proved to be involved in the behavioral intentions and emotions. Evaluation of beauty and ugliness showed similar patterns of activation in these brain regions. Our findings indicate that morality judgment and moral aesthetic judgment recruit different cortical networks that might decode others' behaviors at different levels. These results contribute to further understanding of the essence of the relationship between morality judgment and aesthetic judgment.