The "Visual Shock" of Francis Bacon: an essay in neuroesthetics

Perceptual distortions characteristic of Alice in Wonderland syndrome in contemporary figurative painting

Background

Alice in Wonderland syndrome (AIWS) is a neurological condition characterized by perceptual distortions, most of which are visual in nature (metamorphopsias). Over the past decade there has been a movement in contemporary figurative painting away from strict mimesis toward depicting distortions of the painting's subject, called disrupted realism. In certain cases the similarities between the distortions in those paintings and those characteristic of AIWS are so striking that we suspect that artists may have experienced distorted perceptions themselves and used them for creative inspiration.

Methods

To empirically test this hypothesis we interviewed 20 painters who frequently use distortions in their work, using the SIntAD, a tailor-made, semi-structured questionnaire. We then carried out a phenomenological analysis of the perceptual phenomena reported on, and compared them with those in their paintings.

Results

Of the artists interviewed, 85% reported on having experienced positive disorders of perception in general (comprising hallucinations, perceptual distortions and other perceptual phenomena), with 55% reporting on a total number of 15 metamorphopsias. Most artists had not been aware of having these distortions to their perception. Nonetheless, most did not use these specific distortions in their work, but rather different types.

Conclusion

Symptoms of AIWS and other positive disorders of perception are common among contemporary painters who frequently use distortions in their figurative work, although perhaps not more common than in the general population. Artists in the disrupted-realism movement tend not to mimic their own perceptual distortions in their work, although they do feel inspired to distort their work in different ways.

The differential power of extraneous influences to modify aesthetic judgments of biological and artifactual stimuli

We addressed the question of the extent to which external information is capable of modifying aesthetic ratings given to two different categories of stimuli-images of faces (which belong to the biological category) and those of abstract paintings with no recognizable objects (which sit in the artifactual category). A total of 51 participants of different national origins rated the beauty of both sets of stimuli, indicating the certainty of their rating; they then re-rated them after being exposed to the opinions of others on their aesthetic status. Of these 51 participants, 42 who met our criteria were selected to complete the experiment. The results showed that individuals were less prone to modifying their ratings of stimuli belonging to the biological category compared to those falling into the artifactual category. We discuss this finding in light of our theoretical Bayesian-Laplacian model and on the evidence given by previous empirical research.

Move Still: The Effects of Implied and Real Motion on the Duration Estimates of Dance Steps

It has been argued that movement can be implied by static cues of images depicting an instance of a dynamic event. Instances of implied motion have been investigated as a special type of stimulus with common processing mechanisms to those of real motion. Timing studies have reported a lengthening of the perceived time for moving as opposed to static stimuli and for stimuli of higher as compared to lower amounts of implied motion. However, the actual comparison of real versus implied motion on timing has never been investigated. In the present study, we compared directly the effect of two hypothetically analogous ballet steps with different amounts of movement and static instances of the dynamic peak of these events in a reproduction task. The analysis revealed an overestimation and lower response variability for real as compared to implied motion stimuli. These findings replicate and extend the apparent duration lengthening for moving as compared to static stimulation, even for static images containing implied motion, questioning whether or not the previously reported correspondence between real and implied motion transfers in the timing domain. This lack of correspondence was further supported by the finding that the amount of movement presented affected only displays of real motion.

Artworks as dichotomous objects: implications for the scientific study of aesthetic experience

This paper addresses an issue that has been studied from both scientific and art theoretical perspectives, namely the dichotomous nature of representational artworks. Representational artworks are dichotomous in that they present us with two distinct aspects at once. In one aspect we are aware of what is represented while in the other we are aware of the material from which the representation is composed. The dichotomy arises due the incompatibility, indeed contradiction, between these aspects of awareness, both of which must be present if we are to fully appreciate the artwork. Examples from art history are given to show how artists have exploited this dichotomy in a way that conditions our response to their work. I hypothesize that the degree of manifest dichotomy in a work determines the strength of its aesthetic effect, and propose this could be experimentally tested. I conclude that scientific studies of aesthetic experience should take the dichotomous nature of artworks into account.

Parallel processing of face and house stimuli by V1 and specialized visual areas: a magnetoencephalographic (MEG) study

We used easily distinguishable stimuli of faces and houses constituted from straight lines, with the aim of learning whether they activate V1 on the one hand, and the specialized areas that are critical for the processing of faces and houses on the other, with similar latencies. Eighteen subjects took part in the experiment, which used magnetoencephalography (MEG) coupled to analytical methods to detect the time course of the earliest responses which these stimuli provoke in these cortical areas. Both categories of stimuli activated V1 and areas of the visual cortex outside it at around 40 ms after stimulus onset, and the amplitude elicited by face stimuli was significantly larger than that elicited by house stimuli. These results suggest that “low-level” and “high-level” features of form stimuli are processed in parallel by V1 and visual areas outside it. Taken together with our previous results on the processing of simple geometric forms (Shgihara and Zeki, 2013; Shigihara and Zeki, 2014), the present ones reinforce the conclusion that parallel processing is an important component in the strategy used by the brain to process and construct forms.

Clive Bell's "Significant Form" and the neurobiology of aesthetics

Though first published almost one century ago, and though its premise has been disputed, Clive Bell’s essay on aesthetics in his book Art still provides fertile ground for discussing problems in aesthetics, especially as they relate to neuroesthetics. In this essay, I begin with a brief account of Bell’s ideas on aesthetics, and describe how they focus on problems of importance to neuroesthetics. I also examine where his premise falls short, and where it provides significant insights, from a neuroesthetic and general neurobiological point of view.