HBM2010 - Organization for Human Brain Mapping

SCIENTIFIC PROGRAM
MORNING WORKSHOP
Cut the Edge of NIRS/OT Technique Toward Synthesis
for the Next Generation, continued
physiological signals in a wide spectrum of psychiatric
diagnosis beyond the scope of authentic neuroimaging
techniques. Together, we try to visualize the shape of
NIRS/OT research to come in the next generation.
Learning Objectives
Having completed this workshop, participants will be
able to:
1. Describe the impetus for future NIRS/OT research;
2. Understand state-of-the-art NIRS/OT techniques
beyond elementary introduction; and
3. Understand how NIRS/OT data can be compared
to other neuroimaging data
Evolution of Optical Topography: Neuroimaging to Go
Atsushi Maki, Hitachi, Ltd., Hatoyama, Saitama, Japan
Statistical Parameter Mapping for Near Infrared
Spectroscopy using NIRS-SPM
Jong Chul Ye, Korea Advanced Institute of Science and
Technology (KAIST), Daejon, Korea
Probabilistic Spatial Registration of NIRS/OT Data with
Crossmodal Perspective
Ippeita Dan, Jichi Medical University, Shimotsuke,
Tochigi, Japan
Enlightening the Brain? Placing Optical Imaging in
Cognitive Neuroscience
Matthias L. Schroeter, Max-Planck-Institute for Human
Cognitive and Brain Sciences, Leipzig, Germany
9:00 – 10:15
Auditorium (Level 0)
MORNING WORKSHOP
Art and the Brain: Perception and Aesthetics of Paintings
and Music
Chair: Alumit Ishai, University of Zurich, Zurich, Switzerland
perceiving works of art and making aesthetic judgments
about them were investigated. Our symposium will cover
converging empirical evidence from recent fMRI studies,
as well as theoretical aspects of aesthetic preference.
Specifically, we will address questions such as how does the
brain interpret abstract and indeterminate paintings, and to
what extent various forms of aesthetic judgments and
feelings are mediated by dissociated neural mechanisms.
Taken collectively, our data suggest that perceiving paintings
and music is not a mere bottom-up process, but, rather,
influenced by top-down mechanisms that mediate the
emotional and affective components, which comprise the
subjective experience of art. Our increased understanding of
the neural processes involved in the experience of art
provides important clues to one of the most intriguing
questions in biology: What caused the so-called “creative
explosion” some 50,000 to 70,000 years ago, leading to
the creation of objects of art by homo sapiens.
Learning Objectives
Having completed this workshop, participants will be
able to:
1. Introduce the topic and review recent studies
in the field; and
2. Explore implications for future research
Neural Correlates of Object Indeterminacy in
Art Compositions
Alumit Ishai, University of Zurich, Zurich, Switzerland
Neuroaesthetics of Visual Art: Lessons in Causation
from Aristotle
Oshin Vartanian, University of Toronto at Scarborough,
Scarborough, Ontario, Canada
Investigating the Elusive Aesthetic Sense with Neuroimaging
Martin Skov, Copenhagen University Hospital, Hvidovre,
Denmark
It’s Sad, But I Like It: On the Aesthetic Dissociation
Between Preference and Basic Emotions in Music
Elvira Brattico, University of Helsinki, Helsinki, Finland
Viewing art compositions and listening to music elicits not
only sensory responses in the human brain, but, importantly,
emotional and aesthetic reactions. In this symposium, we
will present several studies in which the neural correlates of
22 | HBM 2010 Program