“While the patients apparently weren’t aware of the artwork as an important element of their bodily praxis in the environment when asked, their movements however indicated signs of their tacit awareness of the artwork’s presence, presumably as something infusing more ease and safety than having their back up against a white wall or looking at the art. As anthropologist Daniel Miller writes: “The surprising conclusion is that objects are important, not because they are evident and physically constrain or enable, but quite the opposite. It is often precisely because we do not see them” (Miller, 2010, p. 50).”

“Some researchers dismiss abstract art as unsuitable for hospital use, due to “the perceived ambiguity of meaning in abstract art, which is maintained as being too open-ended for patients to interpret, as they are often experiencing states of unfamiliarity, vulnerability, stress, unpredictability, and uneasiness,” Mullins said. He and his colleagues think that other factors matter more than style, including size and placement, color and contrast (patients prefer bright colors), shape, and movement (to which patients respond well).”

“Focusing on visual art, for instance, with experimental neuroaesthetics, psychologists moved from perception to attention and emotion. It was revealed that we respond to hidden mathematical regularities in artworks.”

“The Art and the Brain conference aims to encourage an interdisciplinary discussion between archaeologists, neurophysiologists and artists to develop current understandings and interpretations of non-verbal communication and the development of art in prehistory. Recent developments in the fields of neurophysiology and neuroaesthetics have highlighted the limitations, capacities and facilities of the brain with respect to our perception and cognition.”