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Color has an important role in object recognition and visual working memory (VWM). Decoding color VWM in the human brain is helpful to understand the mechanism of visual cognitive process and evaluate memory ability. Recently, several studies showed that color could be decoded from scalp electroencephalogram (EEG) signals during the encoding stage of VWM, which process visible information with strong neural coding. Whether color could be decoded from other VWM processing stages, especially the maintaining stage which processes invisible information, is still unknown. Here, we constructed an EEG color graph convolutional network model (ECo-GCN) to decode colors during different VWM stages. Based on graph convolutional networks, ECo-GCN considers the graph structure of EEG signals and may be more efficient in color decoding. We found that (1) decoding accuracies for colors during the encoding, early, and late maintaining stages were 81.58%, 79.36%, and 77.06%, respectively, exceeding those during the pre-stimuli stage (67.34%), and (2) the decoding accuracy during maintaining stage could predict participants’ memory performance. The results suggest that EEG signals during the maintaining stage may be more sensitive than behavioral measurement to predict the VWM performance of human, and ECo-GCN provides an effective approach to explore human cognitive function.

The eminent Chinese artist LaoZhu has created a homogeneous set of abstract pictures that are referred to as the “third abstraction.” By definition, these pictures are meant to be representations of the artist’s personal involvement and as such to create an internal point of view in the observer on an implicit level of processing. Aiming at investigating whether the artist’s choice of a specific color is experienced in a specific way by the recipient, we assessed both explicit and implicit (i.e., neuro-cognitive) correlates in naive viewers of LaoZhu’s pieces. The behavioral results reveal a preference of the original red paintings over color-changed counterparts in green or black. Paradoxically and inconsistent with predictions, we found higher levels of neural activation in several brain regions (predominantly in the frontal and parietal cortices) for the color-changed compared to the original red conditions. These observations add empirically to the complementarity of early visual pathways and higher-order cognition as well as of explicit and implicit information processing during aesthetic appreciation. We discuss our findings in light of processing effort and top-down control of the color-changed paintings. With regard to the third abstraction as defined by LaoZhu, in particular to the distinction between an external and internal point of view when viewing abstract art, our results contribute to an understanding of “abstraction and empathy” as a fundamental part of aesthetic appreciation.

Colors are critical for understanding the emotional aspect of the human artistic mind, such as that found in painting a landscape, still life, or portrait. First, we report how single colors are memorized in the brain; second, how pairs of colors harmonize in the dissociated brain under the influence of the emotional brain; third, we see how colored paintings are appreciated as beautiful or ugly in the dissociated brain areas led by the intrinsic reward system in the human brain. The orbitofrontal brain is probably one of the vital brain areas that brings us a value-based reward system that makes a unique contribution to emotional neuroaesthetics.