Hemispheric specialization and recognition memory for abstract and realistic pictures: A comparison of painters and laymen

Symbol superiority: Why $ is better remembered than 'dollar'

Memory typically is better for information presented in picture format than in word format. Dual-coding theory (Paivio, 1969) proposes that this is because pictures are spontaneously labelled, leading to the creation of two representational codes-image and verbal-whereas words often lead to only a single (verbal) code. With this perspective as motivation, the present investigation asked whether common graphic symbols (e.g.,!@#$%&) are afforded primarily verbal coding, akin to words, or whether they also invoke visual imagery, as do pictures. Across four experiments, participants were presented at study with graphic symbols or words (e.g., $ or 'dollar'). In Experiment 1, memory was assessed using free recall; in Experiment 2, memory was assessed using old-new recognition. In Experiment 3, the word set was restricted to a single category. In Experiment 4, memory for graphic symbols, pictures, and words was directly compared. All four experiments demonstrated a memory benefit for symbols relative to words. In a fifth experiment, machine learning estimations of inherent stimulus memorability were found to predict memory performance in the earlier experiments. This study is the first to present evidence that, like pictures, graphic symbols are better remembered than words, in line with dual-coding theory and with a distinctiveness account. We reason that symbols offer a visual referent for abstract concepts that are otherwise unlikely to be spontaneously imaged.

Viewing of figurative paintings affects pseudoneglect as measured by line bisection

Neurologically intact individuals usually show a leftward bias in spatial attention, known as pseudoneglect, likely reflecting a right-hemisphere dominance in the control of spatial attention. A leftward bias also seems to manifest when individuals are asked to provide aesthetic judgments about visual stimuli, like artworks. However, whether artwork perception affects the allocation of spatial attention has never been directly investigated. Here, we assessed whether viewing figurative paintings affects hemispheric imbalance in the control of spatial attention by asking participants to bisect a series of lines presented on a grey background, on figurative paintings or on non-artistic photographs of real-world scenes, while either simply observing or explicitly evaluating each image. In line with previous evidence, participants showed a leftward bisection bias in the baseline condition, reflecting pseudoneglect. Critically, the presence of a painting in the background (irrespective of whether an aesthetic evaluation was required or not) significantly shifted the bias further to the left compared to when lines were bisected over a grey background (baseline) or a photographed scene. This finding suggests that perception of visual art may affect the control of spatial attention, possibly tapping on right-hemisphere resources related to visuospatial exploration, regardless of reward apprehension mechanisms (at least when images do not evoke strong emotional reactions leading to polarized like/dislike judgements).

Defining Image Memorability Using the Visual Memory Schema

Memorability of an image is a characteristic determined by the human observers' ability to remember images they have seen. Yet recent work on image memorability defines it as an intrinsic property that can be obtained independent of the observer. The current study aims to enhance our understanding and prediction of image memorability, improving upon existing approaches by incorporating the properties of cumulative human annotations. We propose a new concept called the Visual Memory Schema (VMS) referring to an organization of image components human observers share when encoding and recognizing images. The concept of VMS is operationalised by asking human observers to define memorable regions of images they were asked to remember during an episodic memory test. We then statistically assess the consistency of VMSs across observers for either correctly or incorrectly recognised images. The associations of the VMSs with eye fixations and saliency are analysed separately as well. Lastly, we adapt various deep learning architectures for the reconstruction and prediction of memorable regions in images and analyse the results when using transfer learning at the outputs of different convolutional network layers.

Hemispheric asymmetry of liking for representational and abstract paintings

Although the neural correlates of the appreciation of aesthetic qualities have been the target of much research in the past decade, few experiments have explored the hemispheric asymmetries in underlying processes. In this study, we used a divided visual field paradigm to test for hemispheric asymmetries in men and women's preference for abstract and representational artworks. Both male and female participants liked representational paintings more when presented in the right visual field, whereas preference for abstract paintings was unaffected by presentation hemifield. We hypothesize that this result reflects a facilitation of the sort of visual processes relevant to laypeople's liking for art-specifically, local processing of highly informative object features-when artworks are presented in the right visual field, given the left hemisphere's advantage in processing such features.

Eye Movement Correlates of Expertise in Visual Arts

The aim of this study was to search for oculomotor correlates of expertise in visual arts, in particular with regard to paintings. Achieving this goal was possible by gathering data on eye movements of two groups of participants: experts and non-experts in visual arts who viewed and appreciated the aesthetics of paintings. In particular, we were interested in whether visual arts experts more accurately recognize a balanced composition in one of the two paintings being compared simultaneously, and whether people who correctly recognize harmonious paintings are characterized by a different visual scanning strategy than those who do not recognize them. For the purposes of this study, 25 paintings with an almost ideal balanced composition have been chosen. Some of these paintings are masterpieces of the world cultural heritage, and some of them are unknown. Using Photoshop, the artist developed three additional versions of each of these paintings, differing from the original in the degree of destruction of its harmonious composition: slight, moderate, or significant. The task of the participants was to look at all versions of the same painting in pairs (including the original) and decide which of them looked more pleasing. The study involved 23 experts in art, students of art history, art education or the Academy of Fine Arts, and 19 non-experts, students in the social sciences and the humanities. The experimental manipulation of comparing pairs of paintings, whose composition is at different levels of harmony, has proved to be an effective tool for differentiating people because of their ability to distinguish paintings with balanced composition from an unbalanced one. It turned out that this ability only partly coincides with expertise understood as the effect of education in the field of visual arts. We also found that the eye movements of people who more accurately appreciated paintings with balanced composition differ from those who more liked their altered versions due to dwell time, first and average fixation duration and number of fixations. The familiarity of paintings turned out to be the factor significantly affects both the aesthetic evaluation of paintings and eye movement.

Complementarity As Generative Principle: A Thought Pattern for Aesthetic Appreciations and Cognitive Appraisals in General

In experimental aesthetics the relationship between the arts and cognitive neuroscience has gained particular interest in recent years. But has cognitive neuroscience indeed something to offer when studying the arts? Here we present a theoretical frame within which the concept of complementarity as a generative or creative principle is proposed; neurocognitive processes are characterized by the duality of complementary activities like bottom-up and top-down control, or logistical functions like temporal control and content functions like perceptions in the neural machinery. On that basis a thought pattern is suggested for aesthetic appreciations and cognitive appraisals in general. This thought pattern is deeply rooted in the history of philosophy and art theory since antiquity; and complementarity also characterizes neural operations as basis for cognitive processes. We then discuss some challenges one is confronted with in experimental aesthetics; in our opinion, one serious problem is the lack of a taxonomy of functions in psychology and neuroscience which is generally accepted. This deficit makes it next to impossible to develop acceptable models which are similar to what has to be modeled. Another problem is the severe language bias in this field of research as knowledge gained in many languages over the ages remains inaccessible to most scientists. Thus, an inspection of research results or theoretical concepts is necessarily too narrow. In spite of these limitations we provide a selective summary of some results and viewpoints with a focus on visual art and its appreciation. It is described how questions of art and aesthetic appreciations using behavioral methods and in particular brain-imaging techniques are analyzed and evaluated focusing on such issues like the representation of artwork or affective experiences. Finally, we emphasize complementarity as a generative principle on a practical level when artists and scientists work directly together which can lead to new insights and broader perspectives on both sides.

Eye Movements during Art Appreciation by Students Taking a Photo Creation Course

Previous studies have focused on the differences in the art appreciation process between individuals, and indicated that novice viewers of artworks, in comparison to experts, rarely consider the creation process of the artwork or how this may relate to style. However, behavioral changes in individuals after educational interventions have not been examined. Art education researchers claim that technical knowledge and creation experiences help novice viewers to pay attention to technical features of artwork. Therefore, an artistic photo creation course was designed and conducted to help students acquire techniques and procedural knowledge of photo creation. The present study verified whether students' viewing strategies during appreciation of photographs changed after the course. Twenty-one students participated in two sessions, viewing the same 12 photographs before and after the course. Based on the analysis of recorded eye movements, the results indicated that the students' perceptual exploration became more active with photographs containing recognizable subjects (i.e., humans and objects), and their global saccades increased when they viewed classic photography, one of the categories of photography covered in the course. Interview data after the course indicated that students became aware of the technical effects in photographs. These results suggest that students' viewing strategies may change following a course, as assessed by behavioral measures of eye movements. Further examination is needed to validate this approach to educational effect measurement.

Expertise in Pictorial Perception: Eye-Movement Patterns and Visual Memory in Artists and Laymen

In two sessions with free scanning and memory instructions, eye-movement patterns from nine artists were compared with those of nine artistically untrained participants viewing 16 pictures representing a selection of categories from ordinary scenes to abstraction: 12 pictures were made to accommodate an object-oriented viewing mode (selection of recognisable objects), and a pictorial viewing mode (selection of more structural features), and 4 were abstract. The artistically untrained participants showed preference for viewing human features and objects, while the artists spent more scanning time on structural/abstract features. A group by session interaction showed a change of viewing strategy in the artists, who viewed more objects and human features in the memory task session. A verbal test of recall memory showed no overall difference in the number of pictures remembered, but the number of correctly remembered pictorial features was significantly higher for artists than for the artistically untrained viewers, irrespective of picture type. No differences in fixation frequencies/durations were found between groups across sessions, but a significant task-dependent-group by session interaction of fixation frequency/duration showed that the artistically untrained participants demonstrated repetition effects in fewer, longer fixations with repeated viewing, while the opposite pattern obtained for the artists.

Does visual expertise improve visual recognition memory?

In general, humans have impressive recognition memory for previously viewed pictures. Many people spend years becoming experts in highly specialized image sets. For example, cytologists are experts at searching micrographs filled with potentially cancerous cells and radiologists are expert at searching mammograms for indications of cancer. Do these experts develop robust visual long-term memory for their domain of expertise? If so, is this expertise specific to the trained image class, or do such experts possess generally superior visual memory? We tested recognition memory of cytologists, radiologists, and controls with no medical experience for three visual stimulus classes: isolated objects, scenes, and mammograms or micrographs. Experts were better than control observers at recognizing images from their domain, but their memory for those images was not particularly good (D' ~ 1.0) and was much worse than memory for objects or scenes (D' > 2.0). Furthermore, experts were not better at recognizing scenes or isolated objects than control observers.

Style and spectral power: processing of abstract and representational art in artists and non-artists

We investigated cortical activity in response to abstract and representational paintings in artists and non-artists. Participants engaged in visual inspection of works of art and recalled them immediately afterwards through mental imagery. Meanwhile, we recorded their EEG, and calculated the power of their alpha band and theta band activity afterwards. In accordance with previous studies, theta band and alpha band power differed between artists and non-artists; these differences were found to depend, however, on the abstract or representational character of the paintings. Differences between abstract and representational art, and between inspection and imagery, occurred in alpha band power for non-artists only and in theta band power for artists. These results were taken to suggest that effects in artists reflect sustained focused attention and perceptual flexibility; in non-artists motivation and engagement with the task. The results were essentially whole-head, despite the local character of the measurement.

Brain illness and creativity: mechanisms and treatment risks

Brain diseases and their treatment may help or hurt creativity in ways that shape quality of life. Increased creative drive is associated with bipolar disorder, depression, psychosis, temporal lobe epilepsy, frontotemporal dementia, Parkinson disease treatments, and autism. Creativity depends on goal-driven approach motivation from midbrain dopaminergic systems. Fear-driven avoidance motivation is of less aid to creativity. When serotonin and norepinephrine lower motivation and flexible behaviour, they can inhibit creativity. Hemispheric lateralization and frontotemporal connections must interact to create new ideas and conceptual schemes. The right brain and temporal lobe contribute skill in novelty detection, while the left brain and frontal lobe foster approach motivation and more easily generate new patterns of action from the novel perceptions. Genes and phenotypes that increase plasticity and creativity in tolerant environments with relaxed selection pressure may confer risk in rigorous environments. Few papers substantively address this important but fraught topic. Antidepressants (ADs) that inhibit fear-driven motivation, such as selective serotonin reuptake inhibitors, sometimes inhibit goal-oriented motivation as well. ADs that boost goal-directed motivation, such as bupropion, may remediate this effect. Benzodiazepines and alcohol may be counterproductive. Although dopaminergic agonists sometimes stimulate creativity, their doing so may inappropriately disinhibit behaviour. Dopamine antagonists may suppress creative motivation; lithium and anticonvulsant mood stabilizers may do so less. Physical exercise and REM sleep may help creativity. Art therapy and psychotherapy are not well studied. Preserving creative motivation can help creativity and other aspects of well-being in all patients, not just artists or researchers.

Creativity and psychopathology: higher rates of psychosis proneness and nonright-handedness among creative artists compared to same age and gender peers

Creative people have been found to score higher on psychopathologic scales in standardized tests, particularly on the scales that measure traits of psychoticism, and to be more likely to report an excess of nonright handedness compared with controls. However, results are inconsistent across surveys and methodologies, and the contribution of substance abuse has rarely been measured. In this study, 80 creative artists were compared with 80 matched noncreative controls on the Annett Hand Preference Questionnaire (HPQ), the Peters et al. Delusions Inventory, and the General Health Questionnaire. Creative artists were statistically more likely to admit the use of the left hand on the HPQ, with more widespread left hand use reported by artists involved in the creative activities traditionally associated with the right hemisphere (music and painting). They also scored higher on the Peters et al. Delusions Inventory independently from the level of psychopathology (measured with the General Health Questionnaire), from their laterality score (measured with the HPQ), and from their higher use of both licit and illicit drugs.