Exploring the Intersection of Science and Aesthetics
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Chapter 1: Understanding Aesthetic Experience
Neuroscientist Anjan Chatterjee invites us to consider the intricate relationship between aesthetics and neuroscience in his 2013 publication, The Aesthetic Brain. He poses a thought-provoking question: "Have you ever become so engrossed in a painting or piece of music that you completely lose track of time and space?" These enchanting moments, while profoundly subjective, present a challenge for scientific inquiry, which relies on objectivity.
Chatterjee's fascination with aesthetics traces back to his youth in India, where he engaged with one of humanity's oldest art forms. He began drawing fervently at the tender age of six. After earning his philosophy degree from Haverford College in 1980, he discovered his passion for neuroscience during medical school—not out of necessity, but from a genuine curiosity to learn. "That was my first hint that I would pursue clinical neurosciences," he recalls.
In 1989, following his neurology residency, Chatterjee transitioned from pencil to camera, rediscovering his creative voice after an eight-year hiatus. "I capture a variety of subjects—street scenes, landscapes, and abstract forms. I believe that almost anything can be photographed; it’s the photographer's aesthetic perspective that shapes the image," he asserts.
In The Aesthetic Brain, Chatterjee explains that our capacity for aesthetic appreciation is rooted deep within the brain, particularly in areas like the orbitofrontal cortex and nucleus accumbens. Neurotransmitters such as dopamine and opioids play a crucial role in modulating our emotional responses. These responses evolved for survival purposes, but what happens to our appreciation for beauty when survival instincts are no longer at play?
We spoke with Chatterjee last November at the University of Pennsylvania's Pennsylvania Hospital, where he heads the Neurology department.
A thought-provoking discussion on the interdisciplinary relationship between beauty and science.
What constitutes an aesthetic experience?
Certain arrangements of sensory inputs create experiences that feel distinctly different from mere perception. These "aesthetic experiences" often evoke pleasure. However, not all pleasurable encounters, such as enjoying a delightful meal or the company of an attractive partner, qualify as aesthetic.
Chatterjee suggests that aesthetic experiences represent a specific category of pleasurable feelings that lack a utilitarian drive. For instance, while admiring a beautiful painting, one might think, "That would look perfect in my living room," or consider its investment value, yet these thoughts detract from the pure aesthetic enjoyment.
Aesthetic experiences are often self-contained; they focus solely on the immersion in an object. This could be art or even a beautiful garden, providing a clear sense of what constitutes an aesthetic moment.
Section 1.1: Aesthetic Appreciation in the Brain
Chatterjee proposes that aesthetic appreciation hinges on valuing enjoyment over desire. Research indicates that our reward systems are distributed across various brain regions, including the ventral striatum and amygdala. A neuroscientist from the University of Michigan, Kent Berridge, differentiates between the "wanting" and "liking" systems—two interconnected but distinct processes.
Dopamine drives the wanting system, essential for learning and motivation. In contrast, the liking system is mediated by cannabinoid and opioid receptors, which amplify the enjoyment of experiences. While these systems typically operate together, they can diverge, as seen in addiction—individuals may crave substances they no longer enjoy.
Chatterjee theorizes that aesthetic experiences emphasize liking, where desire takes a back seat.
Exploring how fundamental scientific principles can deepen our appreciation of beauty in the world.
Section 1.2: Investigating Transcendental Experiences
Researchers at NYU have attempted to quantify transcendent experiences in art. In a study, participants viewed various paintings while undergoing brain scans, rating their enjoyment. Interestingly, when participants expressed extreme preferences, distinct brain activity patterns emerged, particularly in the default mode network—a cluster of brain areas activated during introspective thought.
The default mode network becomes more active when individuals are less focused on external stimuli, suggesting that profound artistic experiences can trigger inward reflection, enhancing the aesthetic appreciation.
Chapter 2: The Role of Context in Aesthetic Response
Understanding how we perceive objects as art can depend significantly on context. For example, when ordinary items like urinals or Brillo boxes are framed as art, our perception shifts. The Impressionist movement initially faced criticism yet now enjoys widespread acclaim, illustrating how cultural context shapes our responses.
In an experiment by Danish researchers, participants viewed identical abstract images—one group was told they were computer-generated, while the other was informed they were gallery pieces. Results showed that those who believed they were viewing gallery art expressed greater enjoyment, supported by increased activity in the orbitofrontal cortex, associated with pleasure and value.
Section 2.1: The Cultural Evolution of Art
Chatterjee’s observations extend to the evolution of artistic expression. He posits that contemporary art's variability reflects a departure from historical selective pressures that once guided artistic creation. In the absence of these constraints, art flourishes in diverse forms, prompting questions about the very nature of creativity and artistry today.
Section 2.2: Creative Stages and Insights
Creativity typically unfolds in four stages: preparation, incubation, illumination, and elaboration. The preparatory stage involves skill acquisition, followed by incubation—where insights simmer beneath the surface. The illumination stage leads to "Aha!" moments, culminating in the elaboration phase, where ideas materialize into tangible forms.
Neural studies reveal heightened activity in the right hemisphere during the incubation phase, suggesting that creative insights often emerge during moments of relaxed consciousness.
Conclusion: Cultivating Creativity in Modern Society
Chatterjee raises concerns about contemporary culture's potential to stifle creativity. The pressure for productivity often leaves little room for unstructured time, essential for creative thought. He advocates for a balance that allows for downtime, where insights can organically arise.
Reflecting on his career path, Chatterjee contemplates alternative routes, including philosophy or photography, illustrating the diverse avenues that creativity can take.
Gayil Nalls, Ph.D., is an interdisciplinary artist, philosopher, and theorist. Her work investigates personal and collective sensory experiences, memory, and identity.