Detailed Information on Publication Record
2018
Perception of direct vs. averted gaze in portrait paintings : An fMRI and eyetracking study
KESNER, Ladislav, Dominika GRYGAROVÁ, Iveta FAJNEROVÁ, Jiří LUKAVSKÝ, Tereza NEKOVÁŘOVÁ et. al.Basic information
Original name
Perception of direct vs. averted gaze in portrait paintings : An fMRI and eyetracking study
Authors
KESNER, Ladislav (203 Czech Republic, guarantor, belonging to the institution), Dominika GRYGAROVÁ, Iveta FAJNEROVÁ, Jiří LUKAVSKÝ, Tereza NEKOVÁŘOVÁ, Jaroslav TINTĚRA, Yuliya ZAYTSEVA and Jiří HORÁČEK
Edition
Brain and Cognition, Academic Press, 2018, 0278-2626
Other information
Language
English
Type of outcome
Článek v odborném periodiku
Field of Study
50103 Cognitive sciences
Country of publisher
United States of America
Confidentiality degree
není předmětem státního či obchodního tajemství
References:
Impact factor
Impact factor: 2.619
RIV identification code
RIV/00216224:14210/18:00101677
Organization unit
Faculty of Arts
UT WoS
000441704500011
Keywords in English
Artistic portraits; Averted gaze; Direct gaze; Eye-tracking; Perception; fMRI
Tags
Tags
International impact, Reviewed
Změněno: 30/4/2019 09:01, Mgr. Igor Hlaváč
Abstract
V originále
In this study, we use separate eye-tracking measurements and functional magnetic resonance imaging to investigate the neuronal and behavioral response to painted portraits with direct versus averted gaze. We further explored modulatory effects of several painting characteristics (premodern vs modern period, influence of style and pictorial context). In the fMRI experiment, we show that the direct versus averted gaze elicited increased activation in lingual and inferior occipital and the fusiform face area, as well as in several areas involved in attentional and social cognitive processes, especially the theory of mind: angular gyrus/temporo-parietal junction, inferior frontal gyrus and dorsolateral prefrontal cortex. The additional eye-tracking experiment showed that participants spent more time viewing the portrait’s eyes and mouth when the portrait’s gaze was directed towards the observer. These results suggest that static and, in some cases, highly stylized depictions of human beings in artistic portraits elicit brain activation commensurate with the experience of being observed by a watchful intelligent being. They thus involve observers in implicit inferences of the painted subject’s mental states and emotions. We further confirm the substantial influence of representational medium on brain activity.
Links
GA15-08577S, research and development project |
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