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dc.contributor.authorFolgerø, Per Olav
dc.contributor.authorHodne, Lasse
dc.contributor.authorJohansson, Christer
dc.contributor.authorAndresen, Alf Edgar
dc.contributor.authorSætren, Lill Charlotte
dc.contributor.authorSpecht, Karsten
dc.contributor.authorSkaar, Øystein Olav
dc.contributor.authorReber, Rolf
dc.date.accessioned2021-04-15T13:52:49Z
dc.date.available2021-04-15T13:52:49Z
dc.date.created2016-09-08T18:56:55Z
dc.date.issued2016
dc.identifier.issn1662-5161
dc.identifier.urihttps://hdl.handle.net/11250/2737962
dc.description.abstractThis article explores the possibility of testing hypotheses about art production in the past by collecting data in the present. We call this enterprise “experimental art history”. Why did medieval artists prefer to paint Christ with his face directed towards the beholder, while profane faces were noticeably more often painted in different degrees of profile? Is a preference for frontal faces motivated by deeper evolutionary and biological considerations? Head and gaze direction is a significant factor for detecting the intentions of others, and accurate detection of gaze direction depends on strong contrast between a dark iris and a bright sclera, a combination that is only found in humans among the primates. One uniquely human capacity is language acquisition, where the detection of shared or joint attention, for example through detection of gaze direction, contributes significantly to the ease of acquisition. The perceived face and gaze direction is also related to fundamental emotional reactions such as fear, aggression, empathy and sympathy. The fast-track modulator model presents a related fast and unconscious subcortical route that involves many central brain areas. Activity in this pathway mediates the affective valence of the stimulus. In particular, different sub-regions of the amygdala show specific activation as response to gaze direction, head orientation and the valence of facial expression. We present three experiments on the effects of face orientation and gaze direction on the judgments of social attributes. We observed that frontal faces with direct gaze were more highly associated with positive adjectives. Does this help to associate positive values to the Holy Face in a Western context? The formal result indicates that the Holy Face is perceived more positively than profiles with both direct and averted gaze. Two control studies, using a Brazilian and a Dutch database of photographs, showed a similar but weaker effect with a larger contrast between the gaze directions for profiles. Our findings indicate that many factors affect the impression of a face, and that eye contact in combination with face direction reinforce the general impression of portraits, rather than determine it.en_US
dc.language.isoengen_US
dc.publisherFrontiers Mediaen_US
dc.rightsNavngivelse 4.0 Internasjonal*
dc.rights.urihttp://creativecommons.org/licenses/by/4.0/deed.no*
dc.titleEffects of Facial Symmetry and Gaze Direction on Perception of Social Attributes: A Study in Experimental Art Historyen_US
dc.typeJournal articleen_US
dc.typePeer revieweden_US
dc.description.versionpublishedVersionen_US
dc.rights.holderCopyright 2016 Folgerø, Hodne, Johansson, Andresen, Sætren, Specht, Skaar and Reber.en_US
dc.source.articlenumber452en_US
cristin.ispublishedtrue
cristin.fulltextoriginal
cristin.qualitycode1
dc.identifier.doi10.3389/fnhum.2016.00452
dc.identifier.cristin1379484
dc.source.journalFrontiers in Human Neuroscienceen_US
dc.source.4010:452
dc.source.142016
dc.identifier.citationFrontiers in Human Neuroscience. 2016, 10, 452.en_US
dc.source.volume10en_US


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Navngivelse 4.0 Internasjonal
Except where otherwise noted, this item's license is described as Navngivelse 4.0 Internasjonal