Titlebook: Neuroaesthetics; A Methods-Based Intr Tudor Balinisteanu,Kerry Priest Textbook‘‘‘‘‘‘‘‘ 2024 The Editor(s) (if applicable) and The Author(s)

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Textbook‘‘‘‘‘‘‘‘ 2024 alike. The textbook introduces students to philosophical considerations of neuroaesthetics topics in context of the history of empirical aesthetics, showcases experimental approaches to the empirical study of dance, the visual arts, and music, andsupports hands-on training in experimental research methods..

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,Unit 1 Lesson: Behavioural Experiments—Research Designs, Statistical Power, Sample Size ,eness in Mutual Entrainment/Improvisation vs. Formalised Dance with Different Types of Rhythm (Regular, Irregular, and No Rhythm) and Coupling Visual, Haptic, Full Coupling): Building a Case for the Origin of Dance in Mutual Entrainment Empathic Interactions in the Mother–Infant Dyad’ (Balinisteanu, .).

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Textbook‘‘‘‘‘‘‘‘ 2024 students from both the sciences and the humanities. Written in a style that appeals to humanities students without prior science training, and to science students without prior humanities training, the textbook contains 6 Units, material for an introductory class, and summative comments to be discu

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Unit 4 Overview: Symmetry Research in Neuroaesthetics,s fields, one of the better-understood aspects of aesthetic preference, this overview highlights what we can hope to achieve by thoroughly applying neuroaesthetic research methods and how results in this field can contribute to the understanding human behaviour at the phylogenetic scale.

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,Unit 3 Overview: Neuroaesthetics Approaches to the Visual Arts—Creation,ning the artist/creator and establishing his or her position as aesthetic expert becomes crucial in this respect. We present the current limitations in the field of neuroaesthetics regarding art and portrait creation and we try to re-contextualize research from the perception field of neuroaesthetics and apply it to the art-production field.

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Unit 4 Lesson: Why Is , Associated with Holiness?,ial attributes? Specifically, are almost symmetrical portraits with a direct gaze more associated with a positive attitude toward the portrait, as indicated by modern-day attribution of positive and negative adjectives to selected portraits?

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