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Update

The AVE project has originated the following communications:

CONFERENCES/TALKS

2014

Contribution of action simulation in aesthetic experience: An MEG study Ulloa JL, Rachman L., Ticini L., Pelletier J., George N., Dubal, S. 2nd International Conference of the European Society for Cognitive and Affective Neuroscience (ESCAN), Dortmund, Germany.

2013

"De la trace du geste en peinture à l’émotion ressentie" by Jérome Pelletier & Stéphanie Dubal
Journée d’étude interdisciplinaire "Le geste du peintre : materiaux, perception, emotion", at the UPMC, September 4th, Paris, France.
Conference organized by Jean-Pierre Changeux and Philippe Walter.

"L’impact affectif du trait de pinceau" by Jérome Pelletier & Stéphanie Dubal
Journée Neurosciences, Esthétique et Complexité, Centre Universitaire des Saint-Pères, GDR Esthétique Arts & Sciences (ESARS). September 28th, Paris, France.
Conference organized by Zoï Kapula and Marion Vernet.

2012

"A Waltonian goes to the lab" by Jérome Pelletier
Conference "Philosophical Aesthetics and the Sciences of Art?", at the Royal Institute of Philosophy, June 27th, University of Leeds, Leeds, United Kingdom.

"Recognition of Emotional Intensities in Chinese Calligraphy by a non-Chinese speaking population ignorant of the art of calligraphy"  by Jérome Pelletier
Art & Perception Symposium, at the Institut d’Etudes Avancées (IEA), May 28th-29th, Paris, France.

"Recognition of Emotional Intensities in Chinese Calligraphy by a non-Chinese speaking population ignorant of the art of calligraphy" by Jérome Pelletier
22nd Biennial Congress of The International Association of Empirical Aesthetics, August 22th-25th, Taiwan.

"Chinese calligraphy: strokes in motion" by Jérome Pelletier & Yolaine Escande
1st Visual Science of Art Conference (1-2 September 2012), Alghero, Italy.

2011

"Recognition of Emotional Intensities in Chinese Calligraphy by a non-Chinese speaking population ignorant of the art of calligraphy" by Jérome Pelletier & Stéphanie Dubal
17th congress of International Society for Chinese Philosophy "Interculturality and Philosophic Discourse: Retrospect and Prospect" July 4th-8th, Paris, France.

PAPERS/BOOK CHAPTERS

2014

Enhancing aesthetic appreciation by priming canvases with actions that match the artist’s painting style. Ticini Luca Francesco, Rachman Laura, Pelletier Jerome, Dubal Stephanie. Frontiers in Human Neuroscience, 2014, Vol 8

Casile A and Ticini LF (2014). The role of sensory and motor systems in art appreciation and implications for exhibit design. In N. Levent and A. Pascual-Leone (Eds): The multisensory museum: cross-disciplinary perspectives on touch, sound, smell, memory, and space. Ed. Rowman & Littlefield Publishers. ISBN-10: 0759123543; ISBN-13: 978-0759123540.

"A psychophysical exploration of the perception of emotion from abstract art Empirical Studies of the Arts"
Stéphanie Dubal, Jérôme Pelletier, Aure-Elise Lerebours, Yolaine Escande, Marine Taffou, Ken Knoblauch.
Empirical Studies of the Arts 32(1): 1-15. doi: 10.2190/EM.32.1.EOV.4

[Centuries ago, western philosophers of art proposed that an artifact may express emotion. The much older tradition of Chinese calligraphy and landscape painting sees in the brushstroke a central element of the emotional expressiveness of pictorial art. How emotion is detected and perceived from artwork is a current subject of exploration in psychology. We used Signal Detection Theory to determine whether or not naive subjects were able to detect the emotional classification proposed by an artist. Thirty pairs of Chinese characters were produced by an artist so as to render the same Chinese sign with different emotional expressive intensities: one with low emotional expressivity and a second with high emotional expressivity. Twenty-two participants were asked to rate emotional intensity on a 5-point scale while viewing each calligraphy. d', a sensitivity measure reflecting the capacity to detect a signal from a noisy background, was estimated from ROC curves. If the participants categorized the stimuli according to the artist’s classification (or in direct opposition), d’ would differ significantly from 0. Sixteen of the participants had d’ values significantly different from 0, thereby showing that they discriminated the emotional categorization of the calligraphy. Those results indicate a significant sensitivity to the emotion expressed in a Chinese calligraphy by a non-Chinese speaking population ignorant of the art of calligraphy and the artist’s intention.]

"Pour une neuroesthétique cognitive"
Jérome Pelletier
Naturaliser l’Esthétique? PUR coll. Aesthetica. Edited by Morizot J.

2013

"Brushstrokes with emotion"
Jérome Pelletier, Yolaine Escande, Marine Taffou, Ken Knoblauch, Aure-Elise Lerebours, Liang Yang, Stéphanie Dubal.
Inter-culturality and Philosophic Discourse. Edited by Escande, Y., Shen, V. & Li, C. Cambridge Scholars Publishing, pp. 251- 269.

[This paper gives the first results of Western experimental protocols from psychophysics and affective neuroscience applied to Chinese graphic arts, with the help of its theoretical tradition. “Are brushstrokes in Chinese calligraphy emotionally expressive? Do brushstrokes in Chinese calligraphy carry information about the affective states that produced them?”. These are the central questions of the AVE (“Visual Art and Emotion”) multi-disciplinary project. On the basis of a practical and theoretical tradition of Chinese scholars, the AVE project aims to elaborate experimental protocols from psychophysics and affective neuroscience to understand the processes at the root of the emotional expressiveness of the art of Chinese calligraphy. This paper gives the Western and Chinese philosophical background of AVE, the first results of a behavioral experiment conducted by the AVE team, the new hypothesis to be tested empirically in the near future by AVE as well as its relations with Chinese art theory of the brush stroke from some centuries ago.]

ANR