Prospects for a cognitive neuroscience of visual aesthetics

By Anjan Chatterjee. 2003

252 citations recorded by the source corpus.

Subfields: Cognitive Neuroscience, Computer Graphics and Computer-Aided Design, Experimental and Cognitive Psychology

View Paper: https://www.semanticscholar.org/paper/b814dc02315d691059f980b9e2932cebd59fe63f

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Citations in the corpus

The Assessment of Preference for Balance: Introducing a New Test (2005, background): “However, as we have argued elsewhere (Chatterjee, 2002a, 2004), preference for content is likely to be determined by cultural differences, whereas, preference for form is likely to be influenced by structural features such as dynamic balance.”
Next steps in neuroaesthetics: Which processes and processing stages to study? (2013, background): “The transformation into models with a more neuropsychological orientation is still another important need (see Chatterjee, 2011). The scope of aesthetics today has become broader than what the model by Leder et al. (2004) intended to cover.”
Neuroaesthetics: A Coming of Age Story (2011, background): “These cases are but a few examples of the neuropsychological effects of art (for comprehensive reviews, see Chatterjee, 2004b, 2009; Zaidel, 2005).”
Aesthetic package design: A behavioral, neural, and psychological investigation (2010, unknown): “We would expect more intense emotional responses and, thus, longer reaction times for product packaging design that is aesthetic versus product packaging that is standardized (Chatterjee, 2004).”
Curiosity and the pleasures of learning: Wanting and liking new information (2005, background): “…is generally consistent with subjective experiences of ``hunger pangs'', and may, as Berridge (1999) suggests, also reflect an animal's ``want'' to escape these aversive states. appreciation, in which the liked stimulus ``gives pleasure, but not for utilitarian reasons'' (Chatterjee, 2004, p. 56).”
Image Aesthetic Assessment: An experimental survey (2016, background): “vations in the visual cortex can be attributed to the processing of various early, intermediate and late visual features of the stimuli including orientation, shape, color grouping and categorization [13], [14], [15], [16]. Artists intentionally incorporate such features to facilitate desired percep”
The Assessment of Art Attributes (2010, background): “First, we need an overall framework within which to consider art (Chatterjee, 2004a; Nadal, Munar, Capo, Rosselo, & Cela-Conde, 2008) (for a related model, see Leder, Benno, Andries, & Dorothee, 2004).”