Abstract

In the 1990s and early 2000s, researchers in the field of so-called neuoaesthetics recruited research subjects who had been untrained in arts and did not have any pronounced interest in aesthetic matters for their laboratory experiments. The prevalent choice of research subjects has recently changed. Currently, a great number of studies uses subjects who are professionally engaged in the art world. In my paper, I describe, analyze, and critically discuss the two research paradigms regarding the subjects involved in the experiments in neuroaesthetics. I claim that although the more recent one can be generally regarded as an improvement of the research framework, it underestimates the difficulties brought by the notion of expertise in aesthetic perception.