J 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
Name: Afektivní odpověď na vizuální umění: propojení uměnovědného a neurovědního pohledu
Investor: Czech Science Foundation