When a Picasso is a "Picasso": the entry point in the identification of visual art

Who made the paintings: Artists or artificial intelligence? The effects of identity on liking and purchase intention

Investigating how people respond to and view AI-created artworks is becoming increasingly crucial as the technology’s current application spreads due to its affordability and accessibility. This study examined how AI art alters people’s evaluation, purchase intention, and collection intention toward Chinese-style and Western-style paintings, and whether art expertise plays a role. Study 1 recruited participants without professional art experience (non-experts) and found that those who made the paintings would not change their liking rating, purchase intention, and collection intention. In addition, they showed ingroup preference, favoring Chinese-style relative to Western-style paintings, in line with previous evidence on cultural preference in empirical aesthetics. Study 2 further investigated the modulation effect of art expertise. Art experts evaluated less favorably (less liking, lower purchase, and collection intentions) AI-generated paintings relative to artist-made paintings, while non-experts showed no preference. There was also an interaction effect between the author and the art expertise and interaction between the painting style and the art expertise. Collectively, the findings in this study showed that who made the art matters for experts and that the painting style affects aesthetic evaluation and ultimate reception of it. These results would also provide implications for AI-art practitioners.

Social reputation influences on liking and willingness-to-pay for artworks: A multimethod design investigating choice behavior along with physiological measures and motivational factors

Art, as a prestigious cultural commodity, concerns aesthetic and monetary values, personal tastes, and social reputation in various social contexts—all of which are reflected in choices concerning our liking, or in other contexts, our actual willingness-to-pay for artworks. But, how do these different aspects interact in regard to the concept of social reputation and our private versus social selves, which appear to be essentially intervening, and potentially conflicting, factors driving choice? In our study, we investigated liking and willingness-to-pay choices using—in art research—a novel, forced-choice paradigm. Participants (N = 123) made choices from artwork-triplets presented with opposing artistic quality and monetary value-labeling, thereby creating ambiguous choice situations. Choices were made in either private or in social/public contexts, in which participants were made to believe that either art-pricing or art-making experts were watching their selections. A multi-method design with eye-tracking, neuroendocrinology (testosterone, cortisol), and motivational factors complemented the behavioral choice analysis. Results showed that artworks, of which participants were told were of high artistic value were more often liked and those of high monetary-value received more willingness-to-pay choices. However, while willingness-to-pay was significantly affected by the presumed observation of art-pricing experts, liking selections did not differ between private/public contexts. Liking choices, compared to willingness-to-pay, were also better predicted by eye movement patterns. Whereas, hormone levels had a stronger relation with monetary aspects (willingness-to-pay/ art-pricing expert). This was further confirmed by motivational factors representative for reputation seeking behavior. Our study points to an unexplored terrain highlighting the linkage of social reputation mechanisms and its impact on choice behavior with a ubiquitous commodity, art.

What Experts Appreciate in Patterns: Art Expertise Modulates Preference for Asymmetric and Face-Like Patterns

This study set out to investigate whether and how aesthetic evaluations of different types of symmetric, as well as abstract vs. representational patterns are modulated by art expertise. To this end, we utilized abstract asymmetric, symmetric, and “broken” patterns slightly deviating from symmetry, as well as more representational patterns resembling faces (also symmetric or broken). While it has already been shown that symmetry preference decreases with art expertise, it was still unclear whether an already established relationship between art expertise and preference for abstract over representational art can be similarly found as a preference for abstract over representational patterns, as these are non-art objects. Nevertheless, we found profound differences in aesthetic preferences between art experts and laypersons. While art experts rated asymmetric patterns higher than laypersons, as expected, they rated face-like patterns lower than laypersons. Also, laypersons rated all other types of patterns higher than asymmetric patterns, while art experts rated the other patterns similar or lower than asymmetric patterns. We found this both for liking and for interest ratings. As no differences between art experts and laypersons were found regarding memory recognition of new and old patterns, this effect is not likely due to differences in memory performance. In sum, this study further extends our knowledge about the influence of art expertise on aesthetic appreciation.

Move me, astonish me… delight my eyes and brain: The Vienna Integrated Model of top-down and bottom-up processes in Art Perception (VIMAP) and corresponding affective, evaluative, and neurophysiological correlates

This paper has a rather audacious purpose: to present a comprehensive theory explaining, and further providing hypotheses for the empirical study of, the multiple ways by which people respond to art. Despite common agreement that interaction with art can be based on a compelling, and occasionally profound, psychological experience, the nature of these interactions is still under debate. We propose a model, The Vienna Integrated Model of Art Perception (VIMAP), with the goal of resolving the multifarious processes that can occur when we perceive and interact with visual art. Specifically, we focus on the need to integrate bottom-up, artwork-derived processes, which have formed the bulk of previous theoretical and empirical assessments, with top-down mechanisms which can describe how individuals adapt or change within their processing experience, and thus how individuals may come to particularly moving, disturbing, transformative, as well as mundane, results. This is achieved by combining several recent lines of theoretical research into a new integrated approach built around three processing checks, which we argue can be used to systematically delineate the possible outcomes in art experience. We also connect our model's processing stages to specific hypotheses for emotional, evaluative, and physiological factors, and address main topics in psychological aesthetics including provocative reactions-chills, awe, thrills, sublime-and difference between "aesthetic" and "everyday" emotional response. Finally, we take the needed step of connecting stages to functional regions in the brain, as well as broader core networks that may coincide with the proposed cognitive checks, and which taken together can serve as a basis for future empirical and theoretical art research.

The Development of Shared Liking of Representational but not Abstract Art in Primary School Children and Their Justifications for Liking

Understanding how aesthetic preferences are shared among individuals, and its developmental time course, is a fundamental question in aesthetics. It has been shown that semantic associations, in response to representational artworks, overlap more strongly among individuals than those generated by abstract artworks and that the emotional valence of the associations also overlaps more for representational artworks. This valence response may be a key driver in aesthetic appreciation. The current study tested predictions derived from the semantic association account in a developmental context. Twenty 4-, 6-, 8- and 10-year-old children (n = 80) were shown 20 artworks (10 representational, 10 abstract) and were asked to rate each artwork and to explain their decision. Cross-observer agreement in aesthetic preferences increased with age from 4–8 years for both abstract and representational art. However, after age 6 the level of shared appreciation for representational and abstract artworks diverged, with significantly higher levels of agreement for representational than abstract artworks at age 8 and 10. The most common justifications for representational artworks involved subject matter, while for abstract artworks formal artistic properties and color were the most commonly used justifications. Representational artwork also showed a significantly higher proportion of associations and emotional responses than abstract artworks. In line with predictions from developmental cognitive neuroscience, references to the artist as an agent increased between ages 4 and 6 and again between ages 6 and 8, following the development of Theory of Mind. The findings support the view that increased experience with representational content during the life span reduces inter-individual variation in aesthetic appreciation and increases shared preferences. In addition, brain and cognitive development appear to impact on art appreciation at milestone ages.

How perception affects racial categorization: On the influence of initial visual exposure on labelling people as diverse individuals or racial subjects

In research on racial categorization we tend to focus on socialization, on environmental influences, and on social factors. One important factor, though, is perception itself In our experiment we let people label persons on dimensions which they could freely use. The participants were initially exposed to a full series either of black faces or of white faces. We observed a clear effect of initial exposure on explicit verbal categorizations. When initially exposed to white faces, participants used racial labels for the subsequent black faces only. In contrast, racial labels were used for black as well as white faces after initial exposure to black faces, which indicates a shift to in-group categorization after having initially inspected black faces. In conclusion, this effect documents highly adaptive categorizations caused by visual context alone, suggesting that racial thoughts are based on relatively volatile category representations.

When Challenging Art Gets Liked: Evidences for a Dual Preference Formation Process for Fluent and Non-Fluent Portraits

Although fluency theory predominates psychological research on human aesthetics, its most severe limitation may be to explain why art that challenges or even violates easy processing can nevertheless be aesthetically rewarding. We discuss long-standing notions on art’s potential to offer mental growth opportunities and to tap into a basic epistemic predisposition that hint at a fluency counteracting aesthetic pleasure mechanism. Based on divergent strands of literature on empirical, evolutionary, and philosophical aesthetics, as well as research on disfluency, we presumed that challenging art requires deliberate reflexive processing at the level of “aboutness” in order to be experientially pleasing. Here, we probed such a cognitive mastering mechanism, achieved by iterative cycles of elaboration, as predicted by our model of aesthetic experiences. For the study, two kinds of portraits were applied, one associable to a high fluency and one to a high stimulation potential (according to results of an extensive rating study). In Experiment 1, we provided a repeated evaluation task, which revealed a distinctive preference effect for challenging portraits that was absent in the visual exposition conditions of a familiarity and a mere exposure task (Experiment 2). In a follow-up task (Experiment 3) this preference effect was observed with a novel and more encompassing pool of portraits, which corroborated its stability and robustness. In an explorative stimulus-transfer task (Experiment 4), we investigated the presumed underlying mechanism by testing whether the observed effect would generalize onto novel portraits of the same artist-specific styles. Results discounted an alternative interpretation of a perceptual adaptation effect and hinted at meaning-driven mental activity. Conjointly, findings for inexperienced viewers were indicative of an elaboration based mastering mechanism that selectively operated for mentally challenging portraits. Moreover, findings were in line with a dual-process view of human preference formation with art. Theoretical implications and boundary conditions are discussed.

What makes an art expert? Emotion and evaluation in art appreciation

Why do some people like negative, or even disgusting and provocative artworks? Art expertise, believed to influence the interplay among cognitive and emotional processing underlying aesthetic experience, could be the answer. We studied how art expertise modulates the effect of positive-and negative-valenced artworks on aesthetic and emotional responses, measured with self-reports and facial electromyography (EMG). Unsurprisingly, emotionally-valenced art evoked coherent valence as well as corrugator supercilii and zygamoticus major activations. However, compared to non-experts, experts showed attenuated reactions, with less extreme valence ratings and corrugator supercilii activations and they liked negative art more. This pattern was also observed for a control set of International Affective Picture System (IAPS) pictures suggesting that art experts show general processing differences for visual stimuli. Thus, much in line with the Kantian notion that an aesthetic stance is emotionally distanced, art experts exhibited a distinct pattern of attenuated emotional responses.

Is this a "Fettecke" or just a "greasy corner"? About the capability of laypersons to differentiate between art and non-art via object's originality

Which components are needed to identify an object as an artwork, particularly if it is contemporary art? A variety of factors determining aesthetic judgements have been identified, among them stimulus-related properties such as symmetry, complexity and style, but also person-centred as well as context-dependent variables. We were particularly interested in finding out whether laypersons are at all able to distinguish between pieces of fine art endorsed by museums and works not displayed by galleries and museums. We were also interested in analysing the variables responsible for distinguishing between different levels of artistic quality. We ask untrained (Exp.1) as well as art-trained (Exp.2) people to rate a pool of images comprising contemporary art plus unaccredited objects with regard to preference, originality, ambiguity, understanding and artistic quality. Originality and ambiguity proved to be the best predictor for artistic quality. As the concept of originality is tightly linked with innovativeness, a property known to be appreciated only by further, and deep, elaboration (Carbon, 2011i-Perception, 2, 708–719), it makes sense that modern artworks might be cognitively qualified as being of high artistic quality but are meanwhile affectively devaluated or even rejected by typical laypersons—at least at first glance.

Basic-level categories: A review

This paper analyses selected literature on basic-level categories, explores related theories and discusses theoretical explanations of the phenomenon of basic-level categories. A substantial body of research has proposed that basic-level categories are the first categories formed during perception of the environment, the first learned by children and those most used in language. Experimental studies suggest that high-level (or superordinate) categories lack informativeness because they are represented by only a few attributes and low-level (or subordinate) categories lack cognitive economy because they are represented by too many attributes. Studies in library and information science have demonstrated the prevalence of basic-level categories in knowledge organization and representation systems such as thesauri and in image indexing and retrieval; and it has been suggested that the universality of basic-level categories could be used for building crosswalks between classificatory systems and user-centred indexing. However, while there is evidence of the pervasiveness of basic-level categories, they may actually be unstable across individuals, domains or cultures and thus unable to support broad generalizations. This paper discusses application of Heidegger’s notion of handiness as a framework for understanding the relational nature of basic-level categories.

The neural time course of art perception: an ERP study on the processing of style versus content in art

A central prerequisite to understand the phenomenon of art in psychological terms is to investigate the nature of the underlying perceptual and cognitive processes. Building on a study by Augustin, Leder, Hutzler, and Carbon (2008) the current ERP study examined the neural time course of two central aspects of representational art, one of which is closely related to object- and scene perception, the other of which is art-specific: content and style. We adapted a paradigm that has repeatedly been employed in psycholinguistics and that allows one to examine the neural time course of two processes in terms of when sufficient information is available to allow successful classification. Twenty-two participants viewed pictures that systematically varied in style and content and conducted a combined go/nogo dual choice task. The dependent variables of interest were the Lateralised Readiness Potential (LRP) and the N200 effect. Analyses of both measures support the notion that in the processing of art style follows content, with style-related information being available at around 224 ms or between 40 and 94 ms later than content-related information. The paradigm used here offers a promising approach to further explore the time course of art perception, thus helping to unravel the perceptual and cognitive processes that underlie the phenomenon of art and the fascination it exerts.