Brain Activities in a Skilled versus a Novice Artist: An fMRI Study

By R. L. Solso. Leonardo: Journal of the International Society for the Arts, Sciences and Technology, 2001

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Psychology of Aesthetics, Creativity, and the Arts (2011, methodology): “…world of the artist, and as such has great potential as an evaluative tool for studying perception (Fish & Scrivner, 1990; Frith & Law, 1995; Kozbelt, 2001; Mitchell, Ropar, Ackroyd, & Rajendren, 2005; Marshall & Haligan, 2004; Rubens & Benson, 1971; Shulman, 2000; Solso, 2001; Van Sommers, 1984).”
Integrating art historical, psychological, and neuroscientific explanations of artists' advantages in drawing and perception. (2007, background): “…the face; the artist is ‘seeing beyond’ the features. . . . the artist ‘thinks’ portraits more than he ‘sees’ them. . . . this skilled artist engages in a ‘higher-order’ interpreta- tion of the perceived face and may rely on an abstracted representation of a face” (Solso, 2001, pp. 33–34).”
A visual analytics approach to understanding cycling behaviour (2012, unknown): “Given a set of labeled examples E and background knowledge B , an ILP system seeks to ﬁnd a hypothesis H that minimizes a speciﬁed loss function.”
A review of EEG, ERP, and neuroimaging studies of creativity and insight. (2010, methodology): “Studies using neuroimaging methods Solso (2001) 2, a portrait artist and a control fMRI Participants had to (a) copy six portraits of faces and (b) six geometric figures Covariate (expert vs. novice), between-task comparison, and task vs. rest For the artist, there were increases in right middle…”