1. ensa.
rom Nom
imon f
tics:
Hi! I’m S
roaesthe
n Neu
esentatio gement from
y pr
This is m
s enga
gy of
uty drive
sycholo
how bea ink Tank ‘The p
Th
13.
Linkdex
m ber 20
Nove
sharing’
slides.
h of the
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m y not e
ed
ntac
I’ve add ions, please co
st
Any que
orris.
simon_n
@
s one
at m ak e
e? W h
gaging?
we shar
er disen
Why do ging and anoth
s over
g enga
me thing work?
thin
refer so
do we p our preferences
W hy
s t hat
ow do
thers? H nd the processe to dive
o
eed
rsta
To unde references we n obiology of
p
eur
underlie
gy and n
ycholo
t o t he ps
in
beauty.
beauty
, why is
hat
y? And
is beaut does it work? W ty?
t
So, wha nt? How
g be au
porta
rstandin
so im
m unde
learn fro
can we
g it we
erstandin feel
by und
portantly xperiences that
More im
re
feel
ign bette xperiences that
can des ging. E
e want
nga
iences w
Exper
more e
ningful.
ea
more m
.
to share
2. pearl
girl with
inting A
m eer pa
Jan Ver 665
.1
ean
earring c
It can m
ean?
er look m riguing and
es h
What do s, yet it is int
, great
bviously
y thing
man
B ut ,
ging. O
re enga
gaging.
therefo
ghly en
great
an be h i
ntent c
u've got
co
half
w yo
nt is only
you kno
t conte
how do
eed to
nd, grea
tent? A
se you n to do the
con
bec au
equation et other people
of the
dg
helps a
ute it an
content
distrib
great
owever,
same. H
lot!
2
3. ilo,
nus de M
the Ve
Milos or us works of
e of
Aphrodit e most famo
rrently
f th
nd is cu
lpture a
is one o
uvre
eek scu
at t he Lo
ient Gr
anc
t display
rmanen
on pe
aris.
um in P
Muse
rt for
orks of a
ting w
een crea
eb
W e hav
years.
ands of
thous
4. sance
f Renais
d
rpiece o
a maste etween 1501 an
d is
Davi
elo.
db
ichelang
e create
artist M
sculptur
e Italian
th
1504, by
5. Claude
1872
rise c
ion Sun
press
onet’s Im
M
.
i ns t he
re conta
nist’
ctu
of the pi
mpressio
e
‘i
The nam e art movement
eavily
of t h
it was h
name
though
le even
in the tit t the time.
a
criticised
5
6. white.
lack and
e in b
n Sunris
io
Impress
bject in
ghtest o
the bri
ly
sun was s slide it is hard
t he
Whilst
previou
lour is
y in the
e sk
n the co
th
ys be
le whe
guishab
uld alwa a
distin
sun sho
ting in
d. The
remove
ky if pain usly, Monet
an t he s
ghter th nal style. Obvio would
bri
tatio
so it
represen to paint the sun
e by
therefor
w
re and
tyle
knew ho
the pictu resentational s
r in
shimme
ly rep
and
he pure
aking t
tally new ovement.
bre
thing to
es some pressionist art m
creat
: the im
different
6
7. Neuroaesthetics: how beauty drives
engagement
So, Ne
u
engag roaesthetics
ement
: how
beauty
.
drives
Aesthe
ti
conce cs is a branc
rne
h
has be d with art, b of philosoph
en dis
y
cussed eauty and ta
years
ste
si n
fo
obviou ce the time r thousands and
o
sly pre
of
tty imp f Plato. It is
ortant!
David
Hume
a
18th c
entury British emp
iric
,a
not ex
ist in th rgued that b ist in the
eauty
ing
contem
doe
plate t s but the m
inds th s
hem.
aesthe
D
a
tic pre
ferenc oes the prop t
brains
e exist
e
?
in all h rty for
um an
This p
resent
ati
of the
domai on will provi
no
de
therefo
re star f Neuroaest a quick tour
hetics
t by lo
functio
oking
n and
at the and
how in
domai
bra
s
n can
be app ights from th in, its
is
lied to
design
But firs
.
tly, a d
efinitio
n...
8. “...neuroaesthetics, is a new scientific
discipline whose object it is to identify and
understand the neural processes involved in
human art behaviour - those processes that
underlie both the construction and experience
of art.”
Skov &
ition by
s defin
esthetic
on art
Neuroa
ocuses
hich f
rtanian w d experience.
Va
n an
erceptio
p
…..
question
resting
s an inte
It raise
Skov & Vartanian
9. Beauty is also a property of non-art objects
nona role in
cs play
aestheti
uro
Does ne
ts?
art objec
al s o
t but we ge
nd t o ar
st respo t’s look at a ran
’t ju
W e don
-art. Le
esthetic
d to non
pon
t have a
res
cts tha
-art obje
of non
appeal.
10. signed
ilbao de
in
um in B
im Muse hry and opened
nhe
Gugge
ank Ge
hitect Fr
by ar c
1997.
make
eometry ally
sual g
sthetic
and unu
g and ae
e curves
Th
terestin
ilding in
t hi s bu
g.
appealin
11. vation
the Inno hnic
i gned
adid des g Kong Polytec
13.
Zaha H
ted in 20
the Hon
r
ple
Tower fo which was com
ity
Univers
and
unusual
im it is
uggenhe
G
Like the ly interesting.
al
aesthetic
12. rs of
he interio
rs to t
m exterio
Fro
s.
building
tation in
Metro S image
agerbro
ul
The Am
a beautif ng and
agen is
i
Copenh e fabulous light
th
showing f the space.
yo
geometr
13. hing
om the t
Fr
nature.
s
ilt by
hings bu
to t
we build
in Lake
eflected e of
t Fuji r
of Moun
exampl
e image a great natural
Th
ped
now cap
naka is
Yama
g the s
y showin ve the town.
r
symmet ising abo
nr
mountai
y m any
unded b e. Is it
e surro
eings ar try within natur
b
Human
me
enc e
g prefer
s of sym
example we have a stron
er
no wond trical objects?
e
for symm
14. t he
als within
y anim
like man re considered
Tigers,
gdom, a
imal kin
an
l.
beautifu
taring
e tiger s
eye
wing th
age sho als its amazing
im
This
ve
s. It’s
t at us re ttern of its stripe
straigh
d t he pa
olour an
c
ge.
atic ima
an enigm
ts :)
likes ca
ne who
r everyo
Fo
15. here
osmos t
to the c
ok out in ts of beauty.
e lo
When w
ny objec
reat ma
are a g
scary
ok a little
, m ay l o
t he S un
,
Our star is still beautiful.
it
here but
16. age
ing an im
th show
ice a
ther Ear
wn Mo
rvable tw
Our o
ly obse
lanet on uinox.
of our p g an Eq
rin
year, du
17. y W ay
the Milk ion’s belt
galaxy
Or
our own
To
bula and
rion Ne
owing O
sh
iful.
is beaut
m os
The cos
18. can be
e make
ings w
en the th
Ev
l.
beautifu
h t hei r
ators wit etic
refriger
sth
tro-style
have ae
s re
design
Smeg’
d simple
n
curves a
appeal.
19. ed with
t design
produc
tiful
smaller
its beau
uch
n fact,
To a m
j or
ppeal. I
of its ma
tic a
aesthe
red one
Apple’s
conside
tapulted
esign is
d
ca
rofit
and has o one t he t op p
features rsion 5) t
orld.
in the w
one (ve
iPh
panies
ting com
genera
duct!
ak a pro
or bre
an make
ics c
Aesthet
20. idered
be cons
es c an
ite is
n websit
et webs
Eve
Nomin
red as
conside
tic. The
uld be
tic
aesthe
e and co site with aesthe ch
nsiv
respo
roa
web
sign app
ple of a
e
an exam e responsive d aesthetic
Th
red an
appeal.
conside ds, we are
o be
could als . In other wor
s that
e
website
c
es for
preferen
referenc more
i ng p
develop sive and the
well
y are, as
pon
ing the
are res
lly pleas etter the user
a
aesthetic sive, the b
on
as, resp .
ce
experien
cially
commer
can be
sthetics
So, ae
l.
beneficia
21. e want
erns. W
act patt
ke abstr
li
We also nse of them.
se
to make
both
our lives
ings in
esthetic
many th
t have a
are
ed tha
There
d design
n
natural a
appeal.
22. Why are some things beautiful?
thetics?
ives aes
W hat dr
23. in the
eye but
t in the
uty is no s onto another
a
So, if be t brings u
ha
brain. T
i on.
nt quest
importa
ain?
of the br
unction
t i s t he f
W ha
24. “the acquisition of knowledge...”
Zeki
many
e can be and what
hat ther
e brain
reciate t
I app
ns for th
ion by
definitio
e definit
I find th
different
at said,
Th
ignant.
it does.
larity po
particu
ki to be
Ze
25. llege
ssor of
is Profe e University Co
ki
Simir Ze
s at t h
ut e of
aesthetic unded the Instit y,
Neuro
and fo
Berkele
f London tics in 2001 at
o
sthe
Neuroae
ia.
Californ
r t he
things fo he
other
n among isual areas of t
now
ny v
Zeki is k
ation
f the ma
ry o
specialis
discove heir functional
uch as
i n and t
ributes s
bra
sual att
ferent vi
rm.
for dif
n and f o
otio
colour, m
s in a
neurone
vering
that
le disco
l system
am p
For ex
y visua
lar
e monke when a particu
f th
part o
nd only
rticular
ld respo
wou
han a pa eceptive fields.
ather t
colour, r
in their r t a redth, was
g
ha
wavelen le, he showed t
p
tinue to
or exam uron would con
F
en it
even wh
e ne
mulus,
sensitiv
ht.
a red sti
green lig e
d to
respon
ainly by
th
inated m ecause it was
lum
was il
ortant b r perception to
was imp
This
g colou
dy relatin gy in the brain.
first stu
physiolo
gle cell
v en
sin
maybe e
g and
interestin ause it
eally
This is r roversial bec
t hat
ox view
tle cont
a lit
ar e
orthod
ual brain fact,
ges the
the vis
challen
g sites in ptual sites but in
in
process om perce
fr
s o be
s can al
eparate
s
sing site dea Zeki calls
t proces
tha
s. An i
tual site ess!
percep
sciousn
icro-con
M
26. ner.
RI scan
An M
(MRI),
Imaging ging
nance
tic Reso resonance ima
Magne
gnetic
nance
clear ma
nu
etic reso ical imaging
or m agn i s a m ed
NMRI),
(
alise
RT)
y to visu il.
aphy (M
radiolog
tomogr
deta
us ed i n
body in
que
techni
uclear
s of the
tructure
erty of n
s
e prop
internal
use of th MR) to image
kes
MRI ma esonance (N
RI can
body. M
tic r
ide the
m agne
toms ins images of the
fa
nuclei o e detailed
with Xe m or
ossible
creat
ar e p
ody than
hum an b
rays.
27. y of the
pograph ing
t he t o
rround
e shows
he imag al cortex and su
T
visu
primary
areas.
utput of
ypical o
is a t
nd B )
of image gittal view (A a ,
e
This typ hown in sa
s (V1
ual area
in s
the vis
the bra
e- up on
os
).
with a cl , V3A and V4V
VP
V2, V3,
e is no
hat ther
note t
isual
ortant to all specialised v
ingle
It is imp
a where d therefore no s
re
single a nnects an
k el y
o
s more li
c
and it i
circuitry
e exists
ent r
ork.
neural c
ral netw
eu
to be a n
28. ain and
ut the br
g abo
interestin ex is its 6 layer
W hat i s
cort
ally the
specific
n.
formatio
have
ture can y
al struc
ver
natomic
ea
ns. It is
The sam different functio lysis the
ly
a na
profound by anatomical
touch,
reas for ther
o tell
hard t
en the a this to o
e betwe
differenc aring. Compare
enc es
r he
he differ d
here t
s m el l o
e body w by the untraine
th
areas of ious even
mical
n be obv ing at the anato chlea.
ca
e co
look
bserver f the retina or th
o
so
structure
o cell
ed of tw
compos
ers are
y
The 6 la
types.
29. rtex is
rebral co mely
f t he c e
ecture o ellular types, na
it
The arch of a few c
d
(a) and
ompose r pyramid cells
c
al o
Pyramid star cells (b).
or
Stellate
of
iled view
a deta
a) and
e shows
he imag
id cells (
T
pyram
midal or cells (b).
Pyra
or star
has
Stellate
l Cortex
e Visua
V1 in th
ngly
Interesti
ells!
no star c
29
31. ...there are two kinds [brain concepts], inherited
and acquired. The two kinds are intimately linked
and one could not exist without the other.”
Zeki
32. inherited or acquired
The inh
erited c
onc
signals
that com epts organisin
g the
e into th
instill m
eaning
e brain
into the
so as to
sense o
m and t
f them.
hus m a
ke
The acq
ui
through red concepts a
ou
re
significa t life by the bra generated
in, and
nt
make it
change ly independen
t of the
in the in
c on
fo
they ma
ke it ea rmation reachin tinual
sier
g
recognis
e and th for us to perc the brain;
eive an
u
things a
d
nd situa s obtain knowl
edge of
tions.
A good
ex
concep ample of an in
t is
her
A perso the perception ited brain
n
or seein
or ignor with a normal
g of colo
brain ca
e the co
nnot co ur.
lour the
ntrol
y se e .
We hav
e cells i
no
that are
orientat ur Primary Vis
u
ion-sele
only res
ctive e. al Cortex
pond to
g. cells
straight
that
lines.
So hori
zon
not resp tal orientation
-selecti
ond t o a
ve
vertical
stimulu cells will
s.
Zeki’s c
onsider
this bra
fire for s
in a
pecific s
timuli to bility of cells to
building
re
blocks o
f form p present the ne
ural
erceptio
n.
Zeki als
o consi
ders it a
conscio
fo
usness
that ope rm of microcognitiv
rates be
e opera
low nor
tion.
m al
33. constancy
Zeki o
utl
the bra ines other im
in
p
and ab , namely, pe ortant functio
rceptu
stracti
on.
al cons ns of
tancy
Percep
tu
mainta al constanc
ya
in
such a visual stimu llows us to
s
li
illumin distance, vie when variab
le
at
wing a
ngle a s
brain m ion change.
nd
In othe
aintain
r word
s an o
e.g. a
s th
b je
ba
regard nana or a fa ct’s ‘constan e
les
ce
cy’
The br s of light, an will remain
in
a in is a
g
cting w le or distanc tact
reduci
ng the
e.
it
amoun h efficiency
needs
a
t of inf
to
ormati nd
recogn be rememb
on th
er
is
conditi e a face or a ed or recalle at
ons.
d
banan
a in ch to
anging
It has
be
consta en argued th
nc
at art e
x
the es y because i
sence
t allow poses this
s us to
of an o
bject.
captur
e
Consta
ncy re
pr
functio
n of th esents a prim
e visua
l brain ordial
.
34. abstraction
cy and
constan
rent to
tion.
n is diffe neural coordina
tio
n be
Abstrac erarchical
i
tation ca
h
n
requires general represe So in the
r e,
lars.
Therefo
y particu the functions of
to man
applied
nalises
r, the
t it exter
f ar
Howeve
case o
brain.
n in the
io
d with
abstract
s involve known to
rocesse rently un
actual p
ar e c ur
traction
logy.
abs
neurobio
e
cognitiv
35. “the particular is subordinated to the general, so
what is represented is applicable to many
particulars.”
s the
indicate
d how
by Zeki
ories an brain to
e quote
Th
our mem llow the
tions of
to a
limita
perates
ed for
action o ly within the ne
abstr
ient
ail.
ave effic alling every det
beh
r ec
ring and
sto
r all.
cted afte
constru
ory is re
Mem
Zeki
36. ambiguity
cy,
constan
ion and
abstract e considered a can
Like
an b
that
biguity c rain behaviour
am
ntal b
fundame different levels.
at
operate
ity.
r ambigu
ition fo
t a defin
ka
Let’s loo
37. ... a neurobiologically based definition of ambiguity is
the opposite of the dictionary definition; it is not
uncertainty, but certainty - the certainty of many,
equally plausible interpretations, each one of which is
sovereign when it occupies the conscious stage.”
Zeki
ood at
is very g
ions.
rain
erpretat
ly, the b
l
rent int
Essentia
any diffe
gm
producin
38. A classic
cube.
ecker
is the N
object
biguous
am
32 by
ed in 18 cker
iscover
. A. Ne
lusion d
visual il
rapher L ced
A
stallog
noti
wiss cry
he S
ystal he
t
cr
ls, yet,
e crysta
bserving
h of th
whilst o
the dept hanging.
in
changes
not c
ls were
ta
the crys
le of a
t examp and how
an grea
timulus
resents
It p
arying s
ly unv
ible
physical produce 3 poss
valid.
equally
s
e
our brain ns which all ar
atio
interpret
39. Lisa
he Mona
T
c.1517
by
Da V
onar do
Le
inci
ean?
r smile m
es he
What do
gs and
any thin
great m
mean a d as enigmatic.
It could
scribe
been de
has
an one
more th
ll have
tainly wi
I t c er
ation.
interpret
39
40. How can we use insights from neuroaesthetics in
design?
se fro
an we u
ights c
what ins s?
So,
sthetic
neuroae
xplore:
eas to e
r
Three a
sure;
and plea
s
- Pattern odels;
M
- Mental
- Cards.
m
41. n 3 film
Iron Ma
brain
om
image fr llian showing his
A great
Ki
g Aldrich
showin
P ot s .
Pepper
to
42. pleasure and patterns
We hav
e long k
no
system
in the p wn about the r
erceptio
ole of th
n of ple
e limbic
asure.
We cou
ld
process consider aesth
ing of th
e
e visua tic perception
V1 in th
l centre
as the
e visua
s in the
l cortex
brain su
c h as
We also
k
continu now that the b
r
al ques
t for kno ain processes
patterns
wledge
.
in its
We also
know th
a
accurat
ely we c t the more qui
ckly and
an
enjoyab
m
le it is, e represent a p
attern th ore
.g. we r
mother,
e more
ec
father o
r child m ognise the fac
e of a
ore quic
kly.
Pattern
s that a
re a
number
of interp mbiguous will
in
retation
interpre
s we ge crease the
tations
n
the mor
process
e inform erate. The mo
as well
ation w
re
as the p
e need
otential
to
uncerta
Pattern
inty we
s includ
feel.
e:
- visual
lay
pages o outs, such as
pa
ve
- eleme rall symmetry; ges, and there
nts with
fore a
in visua
e.g. a s
l l ay
pe
carouse cific feature or outs (recogniti
on of de
function
l);
tail
such as
- the flo
w or int
t he
eraction
betwee
n pages
All thes
.
e eleme
nts hav
be cons
e an ae
idered w
sthe
hen des
is not ju
igning t tic that needs
s t t he c
hem. T
t
olo
more th
he aest o
an the t ur or arrangem
het i c
otal com
ent, and
have a
bi ned e
Gestalt
lements it is also
-like eff
ect.
. A e st h
etics
43. mental models
ing
the build
pts are
in conce els?
ra
Maybe b ental mod
fm
blocks o
uired
both acq tal
sising
m en
e synthe
ld b
pts into
We cou ed brain conce
could
the link
herit
and i n
jects
anding
t em s , ob e
Underst
tter sys
models.
sur
esign be
e c an as
to d
cause w
help us
ence be he design
er i
and exp
ent of t
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Hi! I’m Simon from Nomensa.
This is my presentation Neuroaesthetics: how beauty drives engagement from Linkdex Think Tank ‘The psychology of sharing’ November 2013.
I’ve added my notes to each of the slides. Any questions, please contact me @simon_norris.
Why do we share? What makes one thing engaging and another disengaging? Why do we prefer some things over others? How do our preferences work? To understand the processes that underlie preferences we need to dive into the psychology and neurobiology of beauty.
So, what is beauty? And, why is beauty so important? How does it work? What can we learn from understanding beauty?
More importantly by understanding it we can design better experiences that feel more engaging. Experiences that feel more meaningful. Experiences we want to share.
Jan Vermeer painting A girl with pearl earring c.1665
What does her look mean? It can mean many things, yet it is intriguing and therefore engaging. Obviously, great content can be highly engaging. But, how do you know you've got great content? And, great content is only half of the equation because you need to distribute it and get other people to do the same. However, great content helps a lot!
Aphrodite of Milos or the Venus de Milo, is one of the most famous works of ancient Greek sculpture and is currently on permanent display at the Louvre Museum in Paris.
We have been creating works of art for thousands of years.
David is a masterpiece of Renaissance sculpture created between 1501 and 1504, by the Italian artist Michelangelo.
Claude Monet’s Impression Sunrise c. 1872
The name of the picture contains the name of the art movement ‘impressionist’ in the title even though it was heavily criticised at the time.
Impression Sunrise in black and white.
Whilst the sun was the brightest object in the sky in the previous slide it is hardly distinguishable when the colour is removed. The sun should always be brighter than the sky if painting in a representational style. Obviously, Monet knew how to paint the sun so it would shimmer in the picture and therefore by breaking the purely representational style creates something totally new and different: the impressionist art movement.
So, Neuroaesthetics: how beauty drives engagement.
Aesthetics is a branch of philosophy concerned with art, beauty and taste and has been discussed for thousands of years since the time of Plato. It is obviously pretty important!
David Hume a British empiricist in the 18th century argued that beauty does not exist in things but the minds that contemplate them. Does the property for aesthetic preference exist in all human brains?
This presentation will provide a quick tour of the domain of Neuroaesthetics and therefore start by looking at the brain, its function and how insights from this domain can be applied to design.
But firstly, a definition...
Neuroaesthetics definition by Skov & Vartanian which focuses on art perception and experience.
It raises an interesting question…..
Does neuroaesthetics play a role in non-art objects?
We don’t just respond to art but we also respond to non-art. Let’s look at a range of non-art objects that have aesthetic appeal.
Guggenheim Museum in Bilbao designed by architect Frank Gehry and opened in 1997.
The curves and unusual geometry make this building interesting and aesthetically appealing.
Zaha Hadid designed the Innovation Tower for the Hong Kong Polytechnic University which was completed in 2013.
Like the Guggenheim it is unusual and aesthetically interesting.
From exteriors to the interiors of buildings.
The Amagerbro Metro Station in Copenhagen is a beautiful image showing the fabulous lighting and geometry of the space.
From the things we build to things built by nature.
The image of Mount Fuji reflected in Lake Yamanaka is a great natural example of symmetry showing the snow capped mountain rising above the town.
Human beings are surrounded by many examples of symmetry within nature. Is it no wonder we have a strong preference for symmetrical objects?
Tigers like many animals within the animal kingdom are considered beautiful.
This image showing the tiger staring straight at us reveals its amazing eye colour and the pattern of its stripes. It’s an enigmatic image.
For everyone who likes cats :)
When we look out into the cosmos there are a great many objects of beauty.
Our star the Sun may look a little scary here but it is still beautiful.
Our own Mother Earth showing an image of our planet only observable twice a year, during an Equinox.
To our own galaxy the Milky Way showing Orion Nebula and Orion’s belt
The cosmos is beautiful.
Even the things we make can be beautiful.
Smeg’s retro-style refrigerators with their curves and simple design have aesthetic appeal.
To a much smaller product designed with aesthetic appeal. In fact, its beautiful design is considered one of its major features and has catapulted Apple’s iPhone (version 5) to one the top profit generating company’s in the world.
Aesthetics can make or break a product!
Even websites can be considered aesthetic. The Nominet website is responsive and could be considered as an example of a website with aesthetic appeal. The responsive design approach could also be considered an aesthetic preference. In other words, we are developing preferences for websites that are responsive and the more aesthetically pleasing they are, as well as, responsive, the better the user experience.
So, aesthetics can be commercially beneficial.
We also like abstract patterns. We want to make sense of them.
There are many things in our lives both natural and designed that have aesthetic appeal.
What drives aesthetics?
So, if beauty is not in the eye but in the brain. That brings us onto another important question.
What is the function of the brain?
I appreciate that there can be many different definitions for the brain and what it does. That said, I find the definition by Zeki to be particularity poignant.
Simir Zeki is Professor of Neuroaesthetics at the University College of London and founded the Institute of Neuroaesthetics in 2001 at Berkeley, California.
Zeki is known among other things for the discovery of the many visual areas of the brain and their functional specialisation for different visual attributes such as colour, motion and form.
For example discovering neurones in a part of the monkey visual system that would respond only when a particular colour, rather than a particular wavelength, was in their receptive fields. For example, he showed that a red-sensitive neuron would continue to respond to a red stimulus, even when it was illuminated mainly by green light. This was important because it was the first study relating colour perception to single cell physiology in the brain.
This is really interesting and maybe even a little controversial because it challenges the orthodox view that processing sites in the visual brain are separate from perceptual sites but in fact, that processing sites can also be perceptual sites. An idea Zeki calls Micro-consciousness!
An MRI scanner.
Magnetic Resonance Imaging (MRI), nuclear magnetic resonance imaging (NMRI), or magnetic resonance tomography (MRT) is a medical imaging technique used in radiology to visualise internal structures of the body in detail. MRI makes use of the property of nuclear magnetic resonance (NMR) to image nuclei of atoms inside the body. MRI can create more detailed images of the human body than are possible with X-rays.
The image shows the topography of the primary visual cortex and surrounding areas.
This type of image is a typical output of the brain shown in sagittal view (A and B) with a close-up on the visual areas (V1, V2, V3, VP, V3A and V4V) .
It is important to note that there is no single area where all specialised visual circuitry connects and therefore no single neural centre exists and it is more likely to be a neural network.
What is interesting about the brain and specifically the cortex is its 6 layer formation.
The same anatomical structure can have profoundly different functions. It is very hard to tell by anatomical analysis the difference between the areas for touch, smell or hearing. Compare this to other areas of the body where the differences can be obvious even by the untrained observer looking at the anatomical structures of the retina or the cochlea.
The 6 layers are composed of two cell types.
The architecture of the cerebral cortex is composed of a few cellular types, namely Pyramidal or pyramid cells (a) and Stellate or star cells (b).
The image shows a detailed view of Pyramidal or pyramid cells (a) and Stellate or star cells (b).
Interestingly V1 in the Visual Cortex has no star cells!
I mentioned earlier the term ‘brain concept’ but what are a brain concepts?
Zeki describes “...two kinds [brain concepts], inherited and acquired. The two kinds are intimately linked and one could not exist without the other.”
The inherited concepts organising the signals that come into the brain so as to instill meaning into them and thus make sense of them.
The acquired concepts are generated throughout life by the brain, and make it significantly independent of the continual change in the information reaching the brain; they make it easier for us to perceive and recognise and thus obtain knowledge of things and situations.
A good example of an inherited brain concept is the perception or seeing of colour. A person with a normal brain cannot control or ignore the colour they see.
We have cells in our Primary Visual Cortex that are orientation-selective e.g. cells that only respond to straight lines.
So horizontal orientation-selective cells will not respond to a vertical stimulus.
Zeki’s consider this brain ability of cells to fire for specific stimuli to represent the neural building blocks of form perception.
Zeki also considers it a form of micro-consciousness that operates below normal cognitive operation.
Zeki outlines other important functions of the brain, namely, perceptual constancy and abstraction.
Perceptual constancy allows us to maintain visual stimuli when variables such as distance, viewing angle and illumination change. In other words the brain maintains an object’s ‘constancy’ e.g. a banana or a face will remain intact regardless of light, angle or distance. The brain is acting with efficiency and reducing the amount of information that needs to be remembered or recalled to recognise a face or a banana in changing conditions.
It has been argued that art exposes this constancy because it allows us to capture the essence of an object.
Constancy represents a primordial function of the visual brain.
Abstraction
Abstraction is different to constancy and requires hierarchical neural coordination. Therefore, general representation can be applied to many particulars. So in the case of art it externalises the functions of abstraction in the brain. However, the actual processes involved with abstraction are currently unknown to cognitive neurobiology.
The quote by Zeki indicates the limitations of memory and how abstraction operates to allow the brain to behave efficiently within the need for storing and recalling every detail.
Memory is reconstructed after all.
Like abstraction and constancy, ambiguity can be considered a fundamental brain behaviour that can operate at different levels.
Let’s look at a definition for ambiguity.
...a neurobiologically based definition of ambiguity is the opposite of the dictionary definition; it is not uncertainty, but certainty - the certainty of many, equally plausible interpretations, each one of which is sovereign when it occupies the conscious stage.”
Essentially, the brain is very good at producing many different interpretations.
A classic ambiguous object is the Necker cube.
A visual illusion discovered in 1832 by the Swiss crystallographer L. A. Necker whilst observing crystal he noticed changes in the depth of the crystals, yet, the crystals were not changing.
It presents an great example of a physically unvarying stimulus and how our brains produce 3 possible interpretations which all are equally valid.
The Mona Lisa by Leonardo Da Vinci c.1517
What does her smile mean?
It could mean a great many things and has been described as enigmatic.
It certainly will have more than one interpretation.
So, what insights can we use from neuroaesthetics?
Three areas to explore:
- Patterns and pleasure;
- Mental Models;
- Cards.
A great image from Iron Man 3 film showing Aldrich Killian showing his brain to Pepper Pots.
We have long known about the role of the limbic system in the perception of pleasure.
We could consider aesthetic perception as the processing of the visual centres in the brain such as V1 in the visual cortex
We also know that the brain processes patterns in its continual quest for knowledge.
We also know that the more quickly and more accurately we can represent a pattern the more enjoyable it is, e.g. we recognise the face of a mother, father or child more quickly.
Patterns that are ambiguous will increase the number of interpretations we generate. The more interpretations the more information we need to process as well as the potential uncertainty we feel.
Patterns include:
- visual layouts, such as pages, and therefore a pages overall symmetry;
- elements within visual layouts (recognition of detail e.g. a specific feature or function such as the carousel);
- the flow or interaction between pages.
All these elements have an aesthetic that needs to be considered when designing them. The aesthetic is not just the colour or arrangement, and it is also more than the total combined elements. Aesthetics have a Gestalt-like effect.
Maybe brain concepts are the building blocks of mental models?
We could be synthesising both acquired and inherited brain concepts into mental models. Understanding the link could help us to design better systems, objects and experience because we can assure greater alignment of the design properties to reflect not just our mental models but how they are constructed by the brain.
Another design pattern that is emerging in the digital world is the use of cards to present and control the flow of information.
All the major digital players are adopting cards and I believe one of the benefits of using cards is that they embrace future-friendly thinking. We have mental models for using cards. This means cards can naturally support responsive design and the fashionable flat design aesthetic.
Cards are not new and have used to present information over along period of time e.g. Top Trumps.
Let’s look at two twitter examples of cards.
The iPhone and iPad version of twitter showing the discovery option.
You can see how the information is compartmentalised and works very well on devices with smaller screens than desktop or laptop computers.
I think designing using Neuroaesthetics insights and understanding requires a much broader more holistic approach. It requires a polymorphous design thinking attitude - no single perspective is right or wrong.
The user interfaces in the recent Oblivion movie have lot’s of cards!
Hollywood movie user interface designers obviously believe they are the future. However, whilst the image is beautiful I think the idea of big physical screens may not represent the technology trajectory we are headed on. The user interface does not utilise many of our senses and it certainly does not combined them to augment how we use information.
We need to adopt a micro-macro perspective.
Neuroaesthetics is teaching us that everything is important and a micro-macro practice considers both the atomic elements of the design that can be reduced, as well as, the design from an holistic (ecological) perspective.
Everything matters and therefore everything should be considered.
So beauty, style, aesthetics - whatever we call it we know they are all very important.
Yet beauty is much more than appearance. We aspire to beauty in all that surrounds us from architecture, to fashion, products...well everything we design. Beauty is meaning. We don't just see beauty, we feel it.
The more beautiful something is the likely we are to share it!
We need to see the beauty in everything and heed the wisdom of Confucius.