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READING PASSAGE 3

You should spend about 20 minutes on Questions 27-40, which are based on Reading

Passage 3 below.

Neuroaesthetics

An emerging discipline called neuroaesthetics is seeking to bring scientific

objectivity to the study of art, and has already given us a better understanding of

many masterpieces. The blurred imagery of Impressionist paintings seems to stimulate

the brain

’

s amygdala, for instance. Since the amygdala plays a crucial role in our

feelings, that finding might explain why many people find these pieces so moving.

Could

the

same

approach

also

shed

light

on

abstract

twentieth-century

pieces,

from

Mondrian

’

s

geometrical

blocks

of

colour,

to

Pollock

’

s

seemingly

haphazard

arrangements

of

splashed

paint

on

canvas?

Sceptics

believe

that

people

claim

to

like

such

works

simply

because

they

are

famous.

We

certainly

do

have

an

inclination

to

follow

the

crowd.

When

asked

to

make

simple

perceptual

decisions

such

as

matching

a

shape

to

its

rotated

image,

for example, people often choose a definitively wrong answer if they see others doing

the same. It is easy to imagine that this mentality would have even more impact on a

fuzzy concept like art appreciation, where there is no right or wrong answer.

Angelina

Hawley-Dolan,

of

Boston

College,

Massachusetts,

responded

to

this

debate

by asking volunteers to view pairs of paintings

—

either the creations of famous

abstract

artists

or

the

doodles

of

infants,

chimps

and

elephants.

They

then

had

to

judge

which

they

preferred.

A

third

of

the

paintings

were

given

no

captions,

while

many

were

labelled incorrectly

—

volunteers might think they were viewing a chimp

’

s messy

brushstrokes when they were actually seeing an acclaimed masterpiece. In each set of

trials, volunteers generally preferred the work of renowned artists, even when they

believed

it

was

by

an

animal

or

a

child.

It

seems

that

the

viewer

can

sense

the

artist

’

s vision in paintings, even if they can

’

t explain why.

Robert Pepperell, an artist based at Cardiff University, creates ambiguous works

that

are

neither

entirely

abstract

nor

clearly

representational.

In

one

study,

Pepperell and his collaborators asked volunteers to decide how

‘

po werful

’

they

considered an artwork to be, and whether they saw anything familiar in the piece. The

longer

they

took

to

answer

these

questions,

the

more

highly

they

rated

the

piece

under

scrutiny,

and

the

greater

their

neural

activity.

It

would

seem

that

the

brain

sees

these