https://rosalievolkercreativeresearch.cargo.site Neuroaesthetics and the Human Experience Sat, 22 Mar 2025 13:19:23 +0000 https://rosalievolkercreativeresearch.cargo.site en https://rosalievolkercreativeresearch.cargo.site/March-Reading-Atmospheres Tue, 26 Nov 2024 15:58:49 +0000 Neuroaesthetics and the Human Experience https://rosalievolkercreativeresearch.cargo.site/March-Reading-Atmospheres Reflections: Why Atmospheres &nbsp;March 20th, 2025 Atmospheric perception is pre-cognitive and operates through multiple sensory channels simultaneously Our experience of space is fundamentally multisensory, Pallasmaa (2014) engaging not just vision but our entire sensory apparatus including proprioception, thermoception, and auditory processing. This holistic engagement has direct implications for both physical and cognitive wellbeing, as our bodies unconsciously process and respond to environmental stimuli long before conscious awareness occurs.&nbsp; -- “As we enter a space, the space enters us, and the experience is essentially an exchange and fusion of the object and the subject. Robert Pogue Harrison, an American literary scholar, states poetically: ‘In the fusion of place and soul, the soul is as much of a container of place as place is a container of soul, both are susceptible to the same forces of destruc- tion’ (Harrison 2008: 130). Similarly, atmosphere is an exchange between the material or existent properties of the place and our immaterial realm of projection“&nbsp;Christian Borch&nbsp; -- This quote reminded me of a moment when a three-dimensional space transformed me. It was in 2009 at the Dia Beacon just north of New York City. With my priorities on school and staying financially afloat this was perhaps the first time in three years I had the luxury to move slow.&nbsp;<img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/6411de09871591294ad9bd0268b76257e9155a707ea8cef3d10b80878c76e8b2/Original-serra_torquedellipses-3442296768.jpg" data-mid="228624095" border="0" src="https://freight.cargo.site/w/1000/i/6411de09871591294ad9bd0268b76257e9155a707ea8cef3d10b80878c76e8b2/Original-serra_torquedellipses-3442296768.jpg" /><img width="630" height="840" width_o="630" height_o="840" data-src="https://freight.cargo.site/t/original/i/eda0ba6faf0685bf2180852c6466e1c88fa8c7219f570bc3da2bfd6dc8291d3c/f99926e17511868fda6a20f196034318-4091098011.jpg" data-mid="228624096" border="0" src="https://freight.cargo.site/w/630/i/eda0ba6faf0685bf2180852c6466e1c88fa8c7219f570bc3da2bfd6dc8291d3c/f99926e17511868fda6a20f196034318-4091098011.jpg" /> Richard Serra, installation view at Dia:Beacon&nbsp;“ways of relating movement to material and space.” I have this distinct memory of walking into Serra’s work and feeling this physiological shift. It almost felt like I was breaking. Breaking away from something and towards something else. As I looked up I remember truly feeling how the weathered steel carved through space. How this form literally transformed sound and perspectives. I remember feeling the sunlight through the windows and trees rustling in the soft wind just outside. I feel this particular work forever changed me. Lastly, this piece I had viewed in the moma a few months prior. While I wasn’t initially moved by it, compositionally it’s nothing special. But, the tension of each piece of steel next to each other moved me. This was a moment I felt empathy of form or perhaps better put-- I identified with this form. This imperfect cube at first glance its weathered, barely standing, in an environment it didn’t visually mirror in (the pristine moma). After further consideration each piece is leaning into itself in a seemingly impossible stance that has stood boldly in that gallery for decades. <img width="2000" height="1767" width_o="2000" height_o="1767" data-src="https://freight.cargo.site/t/original/i/dccad339c8085a25c346f6b74557a2353f219385cb1fdb062dbc30324d17d6a4/3707f9129fb40e93714e979910d4f216.jpg" data-mid="228624253" border="0" src="https://freight.cargo.site/w/1000/i/dccad339c8085a25c346f6b74557a2353f219385cb1fdb062dbc30324d17d6a4/3707f9129fb40e93714e979910d4f216.jpg" />Richard Serra’s Equal at the MoMA Neural MirroringEmpathetic responses to 3 dimensional spaces and atmospheres Sadar describes this neurological dimension as "polyphonic perception," where our neural systems process environmental information at a pre-conscious level. The ability to grasp atmospheres emotionally before understanding them intellectually. (Pallasmaa) More thoughts on this to come... Reference:&nbsp;Quasi-Materials and the Making of Interior Atmospheres John Stanislav Sadar On the Experience and Politics of Architecture, edited by Christian Borch, Walter de Gruyter GmbH, 2014.&nbsp; https://rosalievolkercreativeresearch.cargo.site/Jan-Reading-the-Mishandled-Archive-copy Sat, 22 Mar 2025 13:19:23 +0000 Neuroaesthetics and the Human Experience https://rosalievolkercreativeresearch.cargo.site/Jan-Reading-the-Mishandled-Archive-copy Mishandled Archive: January 20th, 2025 ... My reflections on the mishandled archive by Tara Fatehi-&nbsp; Tara’s documentation is this balance between protecting her community while still telling their story. Its a balance between hiding the truth to tell the truth.&nbsp; -- In my PhD project documentation looks like video, illustrated frameworks, artifacts/prototypes, data, and human insights / conversations. ‘In my wildest dreams’- I would want my PhD research to be documented as a book. The contents of this book would be structred in a way that is digestable and somewhat delightful to engage with.&nbsp; I’m watching my country become illiterate and my peers attention spans dwindling. I’d like what I ‘publish’ to still reach those ppl in some small way.&nbsp; -- Further reflection on Tara’s work the first thought I had was that the publication is knowledge made physical.&nbsp; All of us are exploring knowlege that exists or is surfacing. Our pursuit is to make it’s existance known, to make it permanent, in somecases to make it physical. Reference:&nbsp;Mishandled Archive by Tara Fatehi. Published by LADA, UK, 2020 https://rosalievolkercreativeresearch.cargo.site/Role-of-Natural-Material-in-Aesthetic-Experiences-Nov-2024 Mon, 20 Jan 2025 13:52:19 +0000 Neuroaesthetics and the Human Experience https://rosalievolkercreativeresearch.cargo.site/Role-of-Natural-Material-in-Aesthetic-Experiences-Nov-2024 Nature-based materials and their role in improving human experienceNovember 20th, 2024 ... Design that incorporates natural materials have a greater likelihood of producing a&nbsp; neuroaesthetic (N.A.) experience? Could the incorporation of nature-based materials in products and spaces positively impact human physiology &amp; psycho physiology?<img width="2160" height="1610" width_o="2160" height_o="1610" data-src="https://freight.cargo.site/t/original/i/7f13919a3259c74242efb7d53ca0b0f3309d1695d070c789616f98f45188a34b/Screenshot-2024-11-26-at-8.49.33AM.png" data-mid="225126604" border="0" src="https://freight.cargo.site/w/1000/i/7f13919a3259c74242efb7d53ca0b0f3309d1695d070c789616f98f45188a34b/Screenshot-2024-11-26-at-8.49.33AM.png" /> Left umbrella with bamboo handle. Right: umbrella with plastic nylon handle. Natural materials, such as wood, cotton, and hemp, have shown promise in calming the body and mind. This is the foundation of many biophilic design practices, that emphasize the inherent human connection to natural elements. Studies in Environmental Psychology have shown that materials derived from nature can reduce stress levels, enhance mood, and promote a sense of well-being (Bringslimark et al., 2009). These effects are amplified in high stress environments like workplaces, healthcare spaces, and educational contexts. <img width="1210" height="807" width_o="1210" height_o="807" data-src="https://freight.cargo.site/t/original/i/94dbd539c6c2323ff761b45d48ccb88e7139f2f89e1ac2bcdd76bce0d5114289/Humanise.jpg" data-mid="225126605" border="0" src="https://freight.cargo.site/w/1000/i/94dbd539c6c2323ff761b45d48ccb88e7139f2f89e1ac2bcdd76bce0d5114289/Humanise.jpg" /> Humanise by Thomas Heatherwich 2023 Wood, in particular, has been extensively studied for its stress-reducing properties. Nyrud et al. (2014) demonstrated that exposure to wooden surfaces in interior environments can lower cortisol levels—a key biomarker of stress. Participants in their study reported feeling more relaxed and comfortable in rooms with visible wood compared to spaces dominated by synthetic materials like plastic or metal. The tactile warmth and organic patterns of wood, including its natural grain and texture, may trigger positive psychological responses akin to spending time in natural outdoor settings. <img width="1392" height="776" width_o="1392" height_o="776" data-src="https://freight.cargo.site/t/original/i/059522f88c6cbd21efaf9f064c5e59eff817227400f7ffd7d3d0c996d7375487/Screenshot-2024-11-26-at-8.55.21AM.png" data-mid="225126606" border="0" src="https://freight.cargo.site/w/1000/i/059522f88c6cbd21efaf9f064c5e59eff817227400f7ffd7d3d0c996d7375487/Screenshot-2024-11-26-at-8.55.21AM.png" /> Same garment pattern, fit, and size. Left predominantly cotton blend, right is a polyester polymer.&nbsp;Textiles like cotton and hemp also play a critical role in reducing stress, particularly through their tactile properties. Soft, breathable fabrics provide a sensory experience that reduces skin irritation and improves comfort. Research has shown that individuals wearing natural fibers, such as cotton, report greater emotional satisfaction and physical comfort compared to those wearing synthetic alternatives (Patel et al., 2020). Hemp textiles, with their antimicrobial properties and temperature-regulating abilities, further enhance this calming effect by reducing environmental stressors, such as excessive heat or skin irritants (Mukherjee &amp; Dutta, 2019). <img width="940" height="576" width_o="940" height_o="576" data-src="https://freight.cargo.site/t/original/i/70af1ab5ebe1cf38ca23ede46356f2b908884056370a7457763182ef1f4355e7/Screenshot-2024-11-26-at-9.05.32AM.png" data-mid="225126607" border="0" src="https://freight.cargo.site/w/940/i/70af1ab5ebe1cf38ca23ede46356f2b908884056370a7457763182ef1f4355e7/Screenshot-2024-11-26-at-9.05.32AM.png" />Left: a stool produced in my ‘Product by Process’ studio Fall 2023 using compression molded bananna leaf fibers and startch based bioplastic composite. Right: an injection molded plastic stool.&nbsp;The visual and olfactory attributes of natural materials may also contribute to their ability to calm ones nervous system. For example, the subtle scent of untreated wood or the earthy aroma of hemp can evoke a connection to the natural world, which has been shown to promote relaxation and reduce mental fatigue (Jo et al., 2013). This sensory stimulation taps into deep-seated evolutionary preferences for natural elements, fostering a sense of safety and tranquility.&nbsp; There is significant promis in natural materials ability to possibly act as passive interventions for stress management. <img width="1229" height="682" width_o="1229" height_o="682" data-src="https://freight.cargo.site/t/original/i/186f22815b643be0a1f892cd43973732321c411c7fb8c6a571f823e625a01bd7/Screenshot-2024-11-26-at-9.16.48AM.png" data-mid="225126609" border="0" src="https://freight.cargo.site/w/1000/i/186f22815b643be0a1f892cd43973732321c411c7fb8c6a571f823e625a01bd7/Screenshot-2024-11-26-at-9.16.48AM.png" /> Diagram:&nbsp; The theory was developed by Rachel and Stephen Kaplan in the 1980s in their book The experience of nature: A psychological perspective,[2][3][4] and has since been found by others to hold true in medical outcomes as well as intellectual task attention, as described below. (Berman et al. discuss the foundation of the attention restoration theory (ART).&nbsp;https://www.iccpp.org/wp-content/uploads/2022/09/Attention-Restoration-therapy-ART.pdf) “ART is based on past research showing the separation of attention into two components: involuntary attention, where attention is captured by inherently intriguing or important stimuli, and voluntary or directed attention, where attention is directed by cognitive-control processes.” Rachel Kaplan 1989 The psychological benefits of natural materials extend to cognitive function. Exposure to biophilic elements, including natural materials, has been associated with improved focus and creativity. Kaplan’s Attention Restoration Theory (ART) posits that natural elements can replenish depleted cognitive resources by providing a calming, restorative environment (Kaplan &amp; Kaplan, 1989). This theory has been further supported by studies, which found that environments incorporating natural wood or fabrics helped users perform better in tasks requiring sustained attention and reduced the likelihood of burnout (Lee et al., 2018). <img width="716" height="546" width_o="716" height_o="546" data-src="https://freight.cargo.site/t/original/i/0ecc7319ed266e529e357077627ef0bceda8cdf4c900030f2dc1a2e87a226233/Screenshot-2024-11-26-at-9.24.15AM.png" data-mid="225126612" border="0" src="https://freight.cargo.site/w/716/i/0ecc7319ed266e529e357077627ef0bceda8cdf4c900030f2dc1a2e87a226233/Screenshot-2024-11-26-at-9.24.15AM.png" />Basic Elements of Biophilic Design adapted from Duzenli et al., 2015.When looking at design created in the aim of produceing an neuroaesthetic experience what role does cultural bias play? Does the incorporation of natural materials and biophilic design priniciples create more universally impactful outcomes?&nbsp; Can the use of nature-based materials mititgate the impact of cultural reference and bias when it comes to aesthetic experiences?&nbsp; <img width="838" height="584" width_o="838" height_o="584" data-src="https://freight.cargo.site/t/original/i/87e11623a214cac13aa299e5db4f7a9323072b95a63f06f3e1177db1a6c7d10b/Screenshot-2024-11-26-at-9.44.46AM.png" data-mid="225126613" border="0" src="https://freight.cargo.site/w/838/i/87e11623a214cac13aa299e5db4f7a9323072b95a63f06f3e1177db1a6c7d10b/Screenshot-2024-11-26-at-9.44.46AM.png" /> Left: Eames plywood stool 1946 compression molded plywood and veneer set with a heat resin. Right: Panton “Panton chair” 1959 phosphorescent pigments on polyurethane shell sealed with highgloss resin. Phosphorescent based pigments are what give this chair a cool hue.&nbsp; Both of the above chairs are largely accepted as ‘good design’ by western and western influenced populations. I hypothesize that the wooden Eames stool maybe more universally appricated then the Panton chair due to its incorporation of natural materials.&nbsp; <img width="1205" height="282" width_o="1205" height_o="282" data-src="https://freight.cargo.site/t/original/i/e6b32129be1090811b90b224f5a9ecd9e7f79c5888443e76e69436ef9572cc45/Screenshot-2024-11-26-at-10.03.47AM.png" data-mid="225126614" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/e6b32129be1090811b90b224f5a9ecd9e7f79c5888443e76e69436ef9572cc45/Screenshot-2024-11-26-at-10.03.47AM.png" /> Milan Design week 2019 project led by Googles Design Lead Ivy Ross During Milan Design Week Google and Johns Hopkins International Arts + Mind Lab created a multiroom immersive experience for visitors. They collected biologic data (heart rate and skin conductivity) of visitors as they explored 3 different interiors (above) and found that all three interiors had a positive impact on most visitors. What was interesting though was in&nbsp; interviews and in biometric data visitors with non-western or lower socioeconomic histories showed positive biometric markers for the first interior (left) and less promising biometric data for the more ‘modern’ interior on the right.The extent to which design can impact our wellbeing may vary based on cultural, geographical, and individual factors. <img width="2364" height="1578" width_o="2364" height_o="1578" data-src="https://freight.cargo.site/t/original/i/373488cff5ba8324de5d2856aee42e69279455170b3fd56de41d80e6e5caa1ba/design-hotels-neuroaesthetics-promo_dezeen_2364_col_4.jpg" data-mid="225126615" border="0" src="https://freight.cargo.site/w/1000/i/373488cff5ba8324de5d2856aee42e69279455170b3fd56de41d80e6e5caa1ba/design-hotels-neuroaesthetics-promo_dezeen_2364_col_4.jpg" />Skyspace Ta Khut by James Turrell From a psycho-physiological perspective, nature also holds a restorative power that appears to be universal. Kaplan and Kaplan's Attention Restoration Theory (ART) posits that natural environments provide "soft fascination," a type of sensory engagement that effortlessly holds attention while allowing the cognitive system to recover from fatigue (Kaplan &amp; Kaplan, 1989). Unlike urban environments, which often demand intense directed attention, natural settings promote a form of mental restfulness that can rejuvenate depleted psychological resources. This restorative effect has been observed across diverse demographic groups, suggesting a shared human tendency to derive emotional and cognitive relief from nature.While biophilia appears to be a widespread phenomenon, the specific natural elements that evoke emotional responses can differ. For example, individuals from coastal regions may find greater emotional value in oceanic environments, while those from forested areas may resonate more with wooded landscapes (Ulrich, 1991). Despite these variations, the overarching emotional connection to nature remains a common thread, supporting the idea that natural environments hold a primal and universal significance for human well-being. References:Bringslimark, T., Hartig, T., &amp; Patil, G. G. (2009). The psychological benefits of indoor plants: A critical review of the experimental literature. Journal of Environmental Psychology, 29(4), pp. 422–433. Jo, H., Rodiek, S., Jin, M., &amp; Kim, D. (2013). The impact of green walls on physiological and psychological health. Urban Forestry &amp; Urban Greening, 12(3), pp. 433–443. Kaplan, R., &amp; Kaplan, S. (1989). The experience of nature: A psychological perspective. Cambridge University Press. Lee, J., Park, B. J., &amp; Miyazaki, Y. (2018). Biophilic environments and attention restoration: A systematic review. International Journal of Environmental Research and Public Health, 15(3), pp. 523–533. Mukherjee, S., &amp; Dutta, A. (2019). Antimicrobial properties of hemp: A review. Journal of Natural Fibers, 16(1), pp. 1–15. Nyrud, A. Q., Bringslimark, T., &amp; Bysheim, K. (2014). Benefits from wood interior in a hospital room: A preference study. Architectural Science Review, 57(2), pp. 125–131. Ulrich, R. S. (1991). Effects of healthcare interior design on wellness: Theory and recent scientific research. Journal of Healthcare Interior Design, 3(1), pp. 97–109. Update coming soon: After challenging this hypothesis further via informal interviews and monitoring -&gt;natural materials and biophilic strategies can not be universally relied on to elicit NA response. However, they may be helpful in restoring attention and triggering sensory perception (the first step in NAE).&nbsp; https://rosalievolkercreativeresearch.cargo.site/Cognitive-Embodiment Sun, 13 Oct 2024 00:52:38 +0000 Neuroaesthetics and the Human Experience https://rosalievolkercreativeresearch.cargo.site/Cognitive-Embodiment Cognitive EmbodimentOctober 08, 2024 ... <img width="2282" height="1944" width_o="2282" height_o="1944" data-src="https://freight.cargo.site/t/original/i/8e82dff0f8c43a7db22590e97bc79e80f907ddd9408723fe11d4d6abe824e7a4/2.png" data-mid="219688541" border="0" src="https://freight.cargo.site/w/1000/i/8e82dff0f8c43a7db22590e97bc79e80f907ddd9408723fe11d4d6abe824e7a4/2.png" />Background&nbsp; “According to several authors, these models present many limitations. For example, the serialized process of the sandwich model (perception-cognition-action) would not be dynamic enough to cope with the urgency of taking an action in the complex scenarios of everyday life. In the time it takes to build a representation and plan an action, integrating the necessary information, the context might have changed (Burr 2017; Hurley 1998). Moreover, the growing body of neurophysiological data is difficult to reconcile with the assumption that sensorimotor processes are separate from other processing steps and localized in well-demarcated regions (Cisek 2007; Cisek and Kalaska 2010; Levy and Glimcher 2012; Padoa-Schioppa 2011). On the other hand, the computer model does not consider the crucial importance of the hardware of cognition. The scientific evidence is incompatible with the idea that cognition takes shape almost independently of both bodily/sensory processes and the surrounding environment. Humans are not observers who engage in understanding the environment and others from a disembodied, third-person position (Thompson 2007).”“In the early 1990s, several researchers proposed an alternative theory: the embodied cognition model which asserts the close relationship between acting and thinking. Cognition is a form of embodied action. Embodied means that not only the brain but also the whole body is important. Action because the ability to act in the world—agency—is central. Cognition is an expression of our bodily agency. We inhabit a meaningful world because we enact meaning. To be human, the individual needs shared bodily practices and to inhabit the world of culture. For the embodied cognition model, the brain is a necessary condition for mind and meaning. Enculturation is a necessary enabling condition for the brain (Thompson 2007). Higher cognitive processes (i.e., how we think, make decisions, or simply live in a society) are highly dependent and based on sensory and motor processes as well as how the agent interacts with the environment around them. In other words, between perceptual, cognitive, and motor processes, there is no hierarchical relationship or temporal sequence, as in the sandwich model, but rather circularity and overlapping such that action influences both perception and abstract thought and vice versa (e.g., Nöe 2004).“ https://www.ncbi.nlm.nih.gov/pmc/articles/PMC9326655/xx“Contrasting the two main classical representational view of cognition, embodied cognition approach is based on sensorimotor coupling of living beings and environment. Organisms always perceive the objects as opportunities for interaction with their body. They do not perceive the realty in passive manner, but through their ongoing bodily activity (Galbusera and Fuchs 2013). Embodied cognition points out that there is no mind separate from the mind–body–environment system. According to Gregory Bateson, mind includes “the pathways of all unconscious mentation—both automatic and repressed, neural and hormonal. Mind is not bounded by skin but includes all external pathways along which information can travel” (Bateson 1972, p. 325). ““Indeed, the words used are the more effective the more they are connected to bodily, sensory, and motor processes related to the experience we have of the objects to which they refer. The more our speech is specific, clear, concrete, and evocative of visual and sensory images, the more we will be able to convey to the listener the experience we are having. Bucci (1984, 1997, 2021a, 2021b, 2021c) investigating the relationship between mentation and language developed the multiple code theory of human processing and called “referential process” the process of connecting nonverbal experiences, words, and objects.” https://www.ncbi.nlm.nih.gov/pmc/articles/PMC9326655/“ Pinker (2007) maintained that almost every abstract word used is based on a practical metaphor, which are also derived from the perception of elements, such as the movement. He defines the human intelligence as a process of metaphoric abstraction that deprives the conceptual structures from their content, and that applies them to new abstract domains. In this sense, having words that can refer to one’s somatic and sensory states and using them to make sense of what is happening in our sensory space helps us to think better and implement more efficient and adaptive behavior, in other words, more intelligent. Based on this evidence, we can hypothesize that sensorimotor vocabulary can thus be considered both an indirect measure of intelligence and an index of the degree of embodiment of higher cognitive processes, i.e., their connection with sensory and motor systems.“ _____“Thus, the more specific, concrete, detailed, and vivid the speech is, the more it has high referential activity. In other words, the referential activity is the extent of connection between words and nonverbal experience. According to the embodied cognition hypothesis, we should expect this measure to correlate with intelligence but, as in Bucci and Freedman’s (1978)&nbsp; study from which we have drawn inspiration, intelligence and referential activity did not correlate.” https://www.ncbi.nlm.nih.gov/pmc/articles/PMC9326655/ https://rosalievolkercreativeresearch.cargo.site/Creative-Journal-Entry-Sept-20th Fri, 20 Sep 2024 01:05:43 +0000 Neuroaesthetics and the Human Experience https://rosalievolkercreativeresearch.cargo.site/Creative-Journal-Entry-Sept-20th Intro<img width="2282" height="1944" width_o="2282" height_o="1944" data-src="https://freight.cargo.site/t/original/i/457d74ffeff50b0af3fe2a33fe82487d2a279d88f9adcdc661db9f93cfe8c7b3/intro.png" data-mid="218368344" border="0" data-scale="88" src="https://freight.cargo.site/w/1000/i/457d74ffeff50b0af3fe2a33fe82487d2a279d88f9adcdc661db9f93cfe8c7b3/intro.png" />september 20, 2024 we have long known that art and aesthetics have the ability to impact our lives -from the everyday to the profoundbut it’s not until very recently that we’ve been able to measure that impact When it comes to design we create for our audience, we create for our user, ultimately we largely create at the service of humans. Today designers are easily able to justify functional decisions while aesthetic choices are still largely deemed as subjective, superlative, or having 'little effect' on the human's experience.&nbsp; While most designers will agree that's simply not true, we have very little research or evidence we can point to that can help justify aesthetic choices. To be clear, aesthetic (non-functional) design choices does not necessarily equal or result in an aesthetic experience but it certainly contributes to it. My personal belief is that it’s unlikely any singular aesthetic choice in design would result in physiological or psycho-physiological change. Present research indicates that Design which has had a measurable impact our physical and mental state are often ones that can be uniquely classified as an aesthetic experience. One might ask, ‘If we're concerned with physiological responses why spend time on exploring the 'Neuro' of NeuroAesthetics?’Before our heart-rate, pupil dialation, etc respond to stimuli it is first processed in the brain. Some refer to this phenomenon as ‘Embodied Cognition’Embodied cognition: autonomic nervous system interprets external stimuli and governs to our heart rate, blood pressure, and other haptic mechanisms “We have in a limited biological context, namely that we know that aesthetic experience correlates with activity in medial orbital frontal cortex regardless of its source.” -Semir Zekiwhat is a neuroaesthetic experience? While there are many differing definitions of Neuroaesthetic experience this is what I've surmised: Multidimensional and integrative perception of art, design, or aesthetic phenomena that engages various neural mechanisms and cognitive processes in the brain. It involves the interaction between sensory perception, emotional response, and cognitive interpretation, and biological response. when art moves you “Although each type of experience activates different combinations of areas in the brain, the overlap always occurs in the medial orbital frontal cortex.” -Zeki <img width="957" height="533" width_o="957" height_o="533" data-src="https://freight.cargo.site/t/original/i/e61076fc06a98737794bd7e2a47db9e40c3d23490a899c6210246cfd1e6956f7/Screenshot-2024-09-19-at-6.58.42PM.png" data-mid="218368674" border="0" src="https://freight.cargo.site/w/957/i/e61076fc06a98737794bd7e2a47db9e40c3d23490a899c6210246cfd1e6956f7/Screenshot-2024-09-19-at-6.58.42PM.png" />Prefrontal Cortex (PFC):The prefrontal cortex, particularly the orbitofrontal cortex (OFC), plays a crucial role in processing reward and pleasure&nbsp;associated with aesthetic experiences. Anterior Insula:The anterior insula is involved in emotional responses and empathy. It becomes active when individuals experience strong aesthetic emotions such as admiration, awe, or pleasure in response to art or beauty.Anterior Cingulate Cortex (ACC):The anterior cingulate cortex is associated with cognitive control, attention, and emotional processing. It plays a role in mediating the emotional and cognitive aspects of aesthetic experiences. Medial Prefrontal Cortex (mPFC):The medial prefrontal cortex is involved in self-referential processing and personal relevance.&nbsp;Activation in the mPFC suggests that aesthetic experiences often involve a sense of personal connection or relevance.Visual Cortex (Occipital Lobe):The primary visual cortex (V1) and other visual processing areas in the occipital lobe are activated when individuals perceive visual beauty in art, nature, or design.&nbsp;Visual stimuli are processed here before higher-level aesthetic judgments are made. Amygdala:The amygdala is responsible for processing emotions, including fear and pleasure.&nbsp;It becomes active during aesthetic experiences that evoke strong emotional responses, such as viewing emotionally charged artworks or scenes. “Although each type of experience activates different combinations of areas in the brain, the overlap always occurs in the medial orbital frontal cortex.” -Zeki Hypothesis: the difference between our senses and our aesthetic senses lies in cross-modality <img width="2282" height="1944" width_o="2282" height_o="1944" data-src="https://freight.cargo.site/t/original/i/e79852d88516a19a1856e30be71d46cf4f3a72e048665520d0a8b395357bb17d/eye.png" data-mid="218368698" border="0" data-scale="66" src="https://freight.cargo.site/w/1000/i/e79852d88516a19a1856e30be71d46cf4f3a72e048665520d0a8b395357bb17d/eye.png" /> “Neuroaesthetics takes both too broad and too narrow a view of art and beauty. On the one hand, neuroaestheticians talk about how the structure of the brain determines our range of available aesthetic experiences: for instance, we rely on our color vision to appreciate a painting.” Alva Noë Research gaps:The sensory dimensions of neuroaesthetics often focus solely on visual perception, often neglecting other senses' contributions to aesthetic experiences.&nbsp;Today researchers have explored how the brain experiences an aesthetic experience however,&nbsp;not much has been documented about the subsequent physiological impacts. https://rosalievolkercreativeresearch.cargo.site/Experiment-Exploration Sun, 13 Oct 2024 00:32:40 +0000 Neuroaesthetics and the Human Experience https://rosalievolkercreativeresearch.cargo.site/Experiment-Exploration Experiment Explorationon going entries 2024 <img width="600" height="338" width_o="600" height_o="338" data-src="https://freight.cargo.site/t/original/i/eb49a594c8c0ab9c1edfa2090028972e735263b07ee88629b95fa8bc5ca4d56a/tate_modernexperiement.gif" data-mid="219688190" border="0" src="https://freight.cargo.site/w/600/i/eb49a594c8c0ab9c1edfa2090028972e735263b07ee88629b95fa8bc5ca4d56a/tate_modernexperiement.gif" /> Critical Experiments Review / Idea Dump...EEG - changes in brainwave patterns, such as increased alpha activity (linked to relaxation and aesthetic enjoyment.)Galvanic Skin Response (GSR)Changes in skin conductance indicate emotional arousal -&gt; Higher arousal levels suggest a stronger emotional reaction, which is often correlating with positive aesthetic experiences <img width="348" height="409" width_o="348" height_o="409" data-src="https://freight.cargo.site/t/original/i/82bf5754e93f5acff3cd1bbd3ed040bf2829a57fc5091fcbee1295704c8e2e41/Screenshot-2024-12-12-at-7.27.03AM.png" data-mid="223271745" border="0" src="https://freight.cargo.site/w/348/i/82bf5754e93f5acff3cd1bbd3ed040bf2829a57fc5091fcbee1295704c8e2e41/Screenshot-2024-12-12-at-7.27.03AM.png" /> Eye tracking (gaze durations) and pupil dialation&nbsp;indicates arousal and cognitive engagement, and fixation patterns observed through eye-tracking technology can reveal what elements of a visual stimulus captivate the viewer and indicate engagement with design <img width="1276" height="411" width_o="1276" height_o="411" data-src="https://freight.cargo.site/t/original/i/3fb73925a1efa62f0908c7baa6537f08c860f811f85e21eebc199c76fc26a126/Screenshot-2024-12-12-at-7.16.10AM.png" data-mid="223271491" border="0" src="https://freight.cargo.site/w/1000/i/3fb73925a1efa62f0908c7baa6537f08c860f811f85e21eebc199c76fc26a126/Screenshot-2024-12-12-at-7.16.10AM.png" />https://www.frontiersin.org/journals/psychology/articles/10.3389/fpsyg.2018.01255/full Proprioceptive responses:&nbsp;Posture and body tracking accepted indications changed mental state expressed in body language. <img width="482" height="668" width_o="482" height_o="668" data-src="https://freight.cargo.site/t/original/i/3d5eb10f807ea65327103c39658255d0d195c769c9c948fd5d2aef48344cd116/Screenshot-2024-12-12-at-7.23.55AM.png" data-mid="223271630" border="0" src="https://freight.cargo.site/w/482/i/3d5eb10f807ea65327103c39658255d0d195c769c9c948fd5d2aef48344cd116/Screenshot-2024-12-12-at-7.23.55AM.png" />https://journals.plos.org/plosone/article?id=10.1371/journal.pone.0115112 Heart Rate Varibility&nbsp;Monitoring HRV reflects our autonomic nervous system responses.&nbsp; HRV allows us to gauge relaxation or stress responses when exposed to various forms of art and design, allowing us to link physiological changes to subjective feelings. <img width="234" height="84" width_o="234" height_o="84" data-src="https://freight.cargo.site/t/original/i/9268bc193159ff54ed81a3ec16e68db5347759b624263aa5e7194b80d563111e/Screenshot-2024-12-12-at-7.38.34AM.png" data-mid="223272404" border="0" src="https://freight.cargo.site/w/234/i/9268bc193159ff54ed81a3ec16e68db5347759b624263aa5e7194b80d563111e/Screenshot-2024-12-12-at-7.38.34AM.png" />Experiement sympton checklist under materials and methods:&nbsp;Symptom Check List Revised (SCL-90-R; Derogatis 1992). SCL-90_R is a widely used tool to screen psychological symptoms measured on nine dimensions: somatization, obsessivity-compulsivity, interpersonal sensitivity, depression, anxiety, hostility, phobic anxiety, paranoid ideation, and psychoticism.&nbsp;&nbsp;https://www.ncbi.nlm.nih.gov/pmc/articles/PMC9326655/ Corrolation of working memory and somatic / sensory language conducted by Bucci + colleagues 2004 <img width="771" height="731" width_o="771" height_o="731" data-src="https://freight.cargo.site/t/original/i/36957b8b98d7fffce7e401ecc36741ff0cf153970895582f591332e8f7b426f7/Screenshot-2024-10-12-at-6.39.24PM.png" data-mid="219657548" border="0" src="https://freight.cargo.site/w/771/i/36957b8b98d7fffce7e401ecc36741ff0cf153970895582f591332e8f7b426f7/Screenshot-2024-10-12-at-6.39.24PM.png" />https://www.ncbi.nlm.nih.gov/pmc/articles/PMC9326655/ I believe this study suggests that the usage of sensory somatic words improves the working memory of any human participant. As the reccollection did not corrospond to the participant’s intelligence but rather to the amount of sensory language used.&nbsp; My Experiment Ideas in no particular order This is just a bank of ideas to pull from later. All experiements would start with subjects in a neutral mood / normal biometrics.&nbsp;------------------------------ Immerse subjects in an aesthetic environment or experience compared to a non aesthetic environment inkblot style&nbsp; test, do we feel more positively -or consider an image more deeply When reviewed during or after an aesthetic expereience?&nbsp;------------------------------- Aesthetic experience with bodily action vs static------------------------------ Aesthetic expereince with guided bodily action vs non-guided&nbsp;------------------------------ Immerse subjects in an aesthetic experience. Set A the aesthetic expereince is narrated or explained at some point&nbsp; Set B the aesthetic expereince is not. Compare how subjects recall the experience. What details do the remember in A vs B?&nbsp; --- Working memory score in Aesthetic vs non experience&nbsp; --- https://rosalievolkercreativeresearch.cargo.site/Reading-Entry-Disavowls Fri, 20 Sep 2024 14:32:36 +0000 Neuroaesthetics and the Human Experience https://rosalievolkercreativeresearch.cargo.site/Reading-Entry-Disavowls Disavowals&nbsp;<img width="650" height="872" width_o="650" height_o="872" data-src="https://freight.cargo.site/t/original/i/f397aa0437523d24e5d9005ff8636671fd5d10c269a7e49d8af0eeb8b66071c7/26-Figure2-1.png" data-mid="218397674" border="0" data-scale="100" src="https://freight.cargo.site/w/650/i/f397aa0437523d24e5d9005ff8636671fd5d10c269a7e49d8af0eeb8b66071c7/26-Figure2-1.png" />Alberto Giacometti, Suspended Ball, 1930-31. Plaster and metal, 24 x 14 ¼ x 14 inches. Kunsthaus, Zurich, Alberto Giacometti Foundation. Claude Cahun's work was a radical and complex it aimed to challenge conventional ideas about gender, sexuality, art, and subjectivity in the interwar period. Cahun sought to deconstruct traditional notions of the self and propose alternative ways of understanding subjectivity and relationships between self and other. <img width="900" height="477" width_o="900" height_o="477" data-src="https://freight.cargo.site/t/original/i/ca10e2ac567e3471a42de6039aa8771a828a6505dd13670f3073124b8a0c5ebd/masked-claude-cahun.jpg" data-mid="218397779" border="0" src="https://freight.cargo.site/w/900/i/ca10e2ac567e3471a42de6039aa8771a828a6505dd13670f3073124b8a0c5ebd/masked-claude-cahun.jpg" /> Claude Cahun, masked self-portrait, 1929. Their/Her photography and collage methods and juxtapositions blur of boundaries to visually represent Cahun's ideas about fluid identities. Like this piece above they are highly intentional about how the elements come together. Layering and placeing them in such a way that metaphors and story about ones indeity can unfold.&nbsp; Going deep though&nbsp;Cahun uses masks and photomontage to&nbsp; represent the progression from childhood to adulthood as a form of masquerade. This technique not only challenges traditional notions of gender and identity but also sheds light on the heteronormative expectations placed on women during the interwar years. Looking at the juxtaposition of Cahun's childhood photograph with later self-portraits creates a visual narrative that disrupts the linear, gendered expectations of maturation. By presenting these images in a non-linear, fragmented manner, Cahun invites us to question the very nature of identity formation and the societal pressures that shape it. <img width="500" height="706" width_o="500" height_o="706" data-src="https://freight.cargo.site/t/original/i/c07043f67e2c524b352506bced85e1ef4ebb7563b79c235929b0bd1d2f87c8f3/Screenshot-2024-09-20-at-8.06.08AM.png" data-mid="218400409" border="0" src="https://freight.cargo.site/w/500/i/c07043f67e2c524b352506bced85e1ef4ebb7563b79c235929b0bd1d2f87c8f3/Screenshot-2024-09-20-at-8.06.08AM.png" />Claude Cahun and Marcel Moore, Faceplate for Chapter I entitled R. C. S. in Aveux non avenus, 1930. “She describes the process of growing up as an effort to win her freedom’ from such conformity.”Jennifer Shaw, Reading Claud Cahun's Disavowals. The concept of "winning freedom" from conformity that Cahun describes is centered on agency, self-determination, and the construction of identity. my concluding thoughts:&nbsp; Her work for me, highlights the human need for fluidity, permission to change and dip into the many facets of your own identity. When we allow our selves to fully feel our identities we’re able to see and exisit in the world with multiple perspectives. Only with this ability that we can truly be advocates for our fellow human.&nbsp; _______________________________________________ Reading Quantum Listening&nbsp; <img width="2048" height="1536" width_o="2048" height_o="1536" data-src="https://freight.cargo.site/t/original/i/0ff9045aa9bfe76841f68ff41fcc66cdc02cf7109811a35dab8724ce59ac0fa9/IMG_2305006.jpg" data-mid="218401044" border="0" src="https://freight.cargo.site/w/1000/i/0ff9045aa9bfe76841f68ff41fcc66cdc02cf7109811a35dab8724ce59ac0fa9/IMG_2305006.jpg" />https://www.are.na/block/22562804Reflection: Pauline Oliveros encourages us to rethink our creative practice and focus as much, if not more, on the process then the final output. She sets on centering ourselves on deep, attentive listening to the world around us suggesting that this practice allows us to be more responsive to our own context. My thoughts: When we are deeply connected to our own relationship with the world around us our creative work is likely to have a far greater impact on society as well as progress our personal evolution.&nbsp; -Haven’t finished this reading fully yet https://rosalievolkercreativeresearch.cargo.site/Research-Proposal-EOI Fri, 20 Sep 2024 01:05:44 +0000 Neuroaesthetics and the Human Experience https://rosalievolkercreativeresearch.cargo.site/Research-Proposal-EOI Research Proposal Neuroaesthetics and the Human Experience How design can impact our physiology &amp; psycho physiology Rosalie Rachael Volker Abstract: This research proposal seeks to delve into the realm of neuroesthetics and multi-sensory perception to understand how the role design plays in aesthetic experiences and understand how aesthetic experiences can impact our physiology. It aims to develop a comprehensive methodology that outlines how tactile and visual stimuli can impact emotion, physical health, and the overall human experience. By incorporating immersive experiments, biometric and qualitative studies, this research aims to establish a framework that harnesses aesthetics for promoting wellbeing and transforming human experiences. This work will aim to answer these three fundamental questions: What design interventions can be leveraged to create aesthetic experiences?What aesthetic senses can have the greatest impact on our physiological and/or psycho-physiological health? Can aesthetic experiences impact our health long-term? Do design driven aesthetic experiences have the power to transform the human experience?What methodologies can be leveraged to better measure and understand physiological and psychophysical effects of aesthetic experiences? Introduction: Neuroesthetics, at the intersection of cognitive science and aesthetics, explores how the brain and body perceives and responds to aesthetic experiences. The sensory dimensions of neuroaesthetics often focus on visual perception, neglecting other senses' contributions to aesthetic experiences. This research proposal seeks to expand the traditional understanding of neuroesthetics by incorporating multiple sensory perceptions—touch, sight, and proprioception—as vital elements shaping aesthetic and human experience. Research Goals: Synthesize current research and literature on neuroaesthetics, designed experiences, cognitive science, and related fields. Create a series of stimuli and experiments that focus on activating aesthetic senses while measuring the physiological and psychophysical responses through both objective and subjective methods.Create a framework that harnesses the potential of multi-sensory neuroaesthetics and their impact on the human experience. Literature Review: Existing literature in neuroaesthetics predominantly focuses on visual aesthetics, acknowledging the brain and body’s response to visual stimuli, art, and beauty. However, recent studies have emphasized the significance of multisensory experiences in aesthetic perception. For instance, Gallace and Spence (2010) highlighted the influence of touch on aesthetic experiences, while Haans and IJsselsteijn (2006) emphasized the role of proprioception in augmenting visual perception. Furthermore, research by Sarlegna (2006) established the link between aesthetic experiences and wellbeing, emphasizing the potential of sensory-rich environments to enhance mental health. In recent “Neuroimaging studies of aesthetic appraisal across four sensory modalities demonstrated that the most concordant area of activation across all modalities is the right anterior insula, an area typically associated with visceral perception.” (Brown et al., 2011).&nbsp; These areas are associated with reward processing, emotion regulation, and introspection.&nbsp; Among these potential aesthetic senses, sense of touch, tactile feedback that occur through physical contact could be particularly impactful. Research has indicated that “Touch is one of the more powerful cognitive communication vehicles…touch rapidly changes our neurobiology and mental states of mind by releasing various transmitters among them oxytocin, which is attributed to feelings of trust, generosity, compassion, and lowered anxiety” (Magsamen, 2023) Beyond touch, proprioception is another sense that has been largely overlooked as a potential aesthetic sense. “Proprioception is critical for body awareness, physical comfort, and the sense of self.” (Proske et al., 2012) It involves the perception of one's body, position, and movements, which is intertwined with the characteristics of materials, forms, and environment we engage with.&nbsp; Research indicates that disruptions in proprioceptive feedback can have physical implications and psychological effects. Understanding how various characteristics can influence proprioception will provide insights into enhancing physical experiences and emotional wellbeing. In recent years researchers have found that “incorporating Neuroarchitecture could fulfill 4 pillars of human wellbeing: the physical, emotional, intellectual and social.” (Medhat, 2023) Indicating that space, object, form, and material, when integrated, have the potential to drastically alter an individual’s immediate psychophysical state but moreover may have the power to shape their lived experience.&nbsp; A study in the BMJ measured engagement “in the receptive arts and found that even experiencing art twice a year reduces mortality in the study’s 6,710 adults by 31%.” (Francourt, 2019) These two studies indicate that living in and engaging with aesthetic experiences may have a profound effect on our health. Despite these insights, a holistic framework incorporating both visual and physical elements (ie. touch, haptics, and proprioceptive) and their impact on aesthetic perception remains under explored. This research aims to fill this gap by integrating empirical evidence and experiments to develop a comprehensive understanding of multisensory aesthetics and its implications for human wellbeing. Research Objectives: To synthesize existing literature: Analyze and synthesize key findings from psychological theories, creative perspectives, and neuroscientific and cognitive studies on aesthetic perception to create a comprehensive foundation.To develop a multidimensional framework: Construct a framework that integrates touch, sight, and proprioception as aesthetic senses, elucidating their roles in material design and their impact on neural responses and wellbeing.To conduct experiments: Design and execute experiments using advanced tracking technologies, behavioral assessments, and design interventions to examine responses to multisensory aesthetic stimuli and their impact on subjective wellbeing.To explore implications: Investigate the application of multisensory aesthetics in design interventions aimed at enhancing our physiological and psychophysical experience with an emphasis on visual, touch, and proprioceptive senses by way of stimulus and sensory-rich experiments. This research has the potential to objectively define how designed aesthetic experiences can impact the human condition. My hope is that this research will help elevate design and aesthetic experiences as an imperative to human health. We can better understand the role of design in Neuro-aesthetics, by quantifying its impacts on the human experience. When defined, creatives will be better equipped to navigate aesthetic decisions, unlock funding, and effectively design for well-being.&nbsp; Methodology: Literature synthesis: Conduct an extensive review of relevant studies from neuroscience, cognitive science, creative theory, and wellbeing studies, synthesizing findings to inform hypotheses and design theory. Framework development: Utilize the synthesized knowledge to develop a aesthetic framework that integrates visual and physical (ie touch, haptic, and proprioceptive) aesthetic senses, mapping their physiological and psychophysiological correlates.Experimental design: Design experiments incorporating diverse aesthetic stimuli and their effect on human biology. These experiments will utilize both subjective data like surveys and objective data collected from newly accessible technologies and methods like ecg sensors, heart rate monitor, facial mapping to inform a complete view of the impact aesthetics have on participants. Experiments would be run and documented in a studio, lab, and/or exhibition space.&nbsp; Conclusive Design interventions: From these findings, create a comprehensive framework and guide to design interventions that improve human health and positively impact the human experience. Ethical Considerations: This research will adhere to ethical guidelines for human research. All participants will provide informed consent throughout the study. (See Bhandari, 2021) Ethical considerations will also be taken into account when selecting materials and design interventions to ensure they do not provoke unnecessary discomfort or harm to participants. Expected Outcomes: A comprehensive framework: Development of a framework that explores how design can be leveraged to create aesthetic experiences. Validation through empirical evidence: Empirical support through biometric experiments validating the framework, revealing biological responses to multisensory aesthetic stimuli and their influence on subjective well being.Design implications for wellbeing: Identification of design strategies and interventions leveraging multisensory aesthetics to create enriching experiences that positively impact human wellbeing. Conclusion: This research aims to bridge the gap in between design and neuroaesthetics by elucidating the roles of touch, sight, and proprioception in material design, aesthetic perception, and wellbeing. By creating a multidimensional framework that focuses on the intersection and integration of aesthetic senses we can better understand neuroaesthetics and its potential to transform the human experience. &nbsp; Works Cited: Bhandari, Pritha. A Guide to Ethical Considerations in Research. 2021, www.scribbr.com/methodology/research-ethics. Accessed 12 Nov. 2023. Brown, Steven. “Naturalizing Aesthetics: Brain Areas for Aesthetic Appraisal across Sensory Modalities.” NeuroImage, vol. 58, no. 1, 1 Sept. 2011, pp. 250–258, www.sciencedirect.com/science/article/abs/pii/S1053811911006203?via%3Dihub, https://doi.org/10.1016/j.neuroimage.2011.06.012. Accessed 20 Aug. 2021. Fancourt, Daisy, and Andrew Steptoe. “The Art of Life and Death: 14 Year Follow-up Analyses of Associations between Arts Engagement and Mortality in the English Longitudinal Study of Ageing.” BMJ, vol. 367, 18 Dec. 2019, www.bmj.com/content/367/bmj.l6377?ijkey=82c1c348ecb15d3a69fb472282dce28041907028&amp;keytype2=tf_ipsecsha, https://doi.org/10.1136/bmj.l6377. Gallace, Alberto, and Charles Spence. “The Science of Interpersonal Touch: An Overview.” Neuroscience &amp; Biobehavioral Reviews, vol. 34, no. 2, Feb. 2010, pp. 246–259, www.sciencedirect.com/science/article/pii/S0149763408001723, https://doi.org/10.1016/j.neubiorev.2008.10.004. MAGSAMEN, SUSAN, and IVY ROSS. YOUR BRAIN on ART : How the Arts Transform Us. [S.l.], RANDOM HOUSE, 2023. Medhat Assem, Hala, et al. “Designing for Human Wellbeing: The Integration of Neuroarchitecture in Design – a Systematic Review.” Ain Shams Engineering Journal, vol. 14, no. 6, June 2023, p. 102102, https://doi.org/10.1016/j.asej.2022.102102. Proske, Uwe, and Simon C. Gandevia. “The Proprioceptive Senses: Their Roles in Signaling Body Shape, Body Position and Movement, and Muscle Force.” Physiological Reviews, vol. 92, no. 4, Oct. 2012, pp. 1651–1697, journals.physiology.org/doi/full/10.1152/physrev.00048.2011, https://doi.org/10.1152/physrev.00048.2011. Ryan, Colleen P., et al. “The Interaction between Motion and Texture in the Sense of Touch.” Journal of Neurophysiology, vol. 126, no. 4, 1 Oct. 2021, pp. 1375–1390, https://doi.org/10.1152/jn.00583.2020. Sarlegna, Fabrice R., and Robert L. Sainburg. “The Roles of Vision and Proprioception in the Planning of Reaching Movements.” Advances in Experimental Medicine and Biology, vol. 629, 2009, pp. 317–335, www.ncbi.nlm.nih.gov/pmc/articles/PMC3709263/, https://doi.org/10.1007/978-0-387-77064-2_16. https://rosalievolkercreativeresearch.cargo.site/Home-Page Fri, 20 Sep 2024 01:05:46 +0000 Neuroaesthetics and the Human Experience https://rosalievolkercreativeresearch.cargo.site/Home-Page neuroaesthetics and the human experienceResearch Goal: Understand art and design’s potential impact on our physiology &amp; psycho-physiology https://rosalievolkercreativeresearch.cargo.site/For-My-Advisors Fri, 20 Sep 2024 01:05:46 +0000 Neuroaesthetics and the Human Experience https://rosalievolkercreativeresearch.cargo.site/For-My-Advisors Google Drive Folder Feel free to drop anything in hereAdvisor Meeting Notes (on going) Calendar Literature Review ....