Aesthetics

Empathy strengthens the effect of emotion on beauty

Past research shows that emotion affects beauty judgments of images and music. Because it is widely supposed that our faculty of empathy facilitates aesthetic experience, we wondered whether individual levels of empathy modulate the effect of emotion on beauty. 164 participants rated the perceived beauty, happiness, and sadness of 12 art images, 12 nature photographs, and 24 songs. The stimuli were presented in two blocks, and participants took the PANAS mood questionnaire before and after each block. Between blocks, they viewed one of three mood induction videos, intended to increase their happiness, increase their sadness, or leave their mood unchanged. We also measured (trait) empathy with the Questionnaire for Cognitive and Affective Empathy. We used structural equation modeling to analyze the effect of empathy on emotion, beauty, and the relationship between them. We assessed four emotion variables: participants' felt happiness and sadness (mood questionnaire ratings) and perceived happiness and sadness (stimulus ratings). We find that higher empathy is associated with stronger positive relationships between beauty and both felt and perceived emotions, for both images and music (β ~ 0.06 per empathy point on a 10-pt. scale, p < 0.001). We also find that perceived happiness and sadness boost beauty directly for both images and music. However, sadness affects music more than images (β = 0.51 vs. 0.12, all p < 0.001), and empathy amplifies this relationship for music but not images. Thus, felt and perceived emotions produce more beauty, more so in more empathic people, and more so with music than images.

Comparing Skin Tones to Shades of Upper Anterior Teeth: An Observational Study among Nigerian Adults

BACKGROUND

Skin tones may be predictive of anterior tooth shade. An analysis of the relationship of skin tone to anterior tooth shade within a population may facilitate the prescription of complete dentures with optimal esthetics and realism.

AIM

This study aimed to assess the relationship between skin tones and shades of upper anterior teeth among a diverse Nigerian adult population.

METHODS

The study was conducted between February and December 2022 among consecutive healthy adults recruited from dental clinics of five teaching hospitals in four cities located across four geopolitical zones of Nigeria. Skin tones were recorded using the National Immigration Service (NIS) Skin Color scale. The Vitapan Classic® shade guide was used to record the tooth shade of the upper central incisors and canines. Bivariate and multivariate tests of associations were performed, and predictive probabilities were developed.

RESULTS

A total of 1070 adults with a mean age of 30.8 ± 10 years participated in the study. NIS skin tones 6 (29.8%) and 5 (27.7%) were the most common, while hues A (48.7% in incisors and 48.4 % in canines) and B (41.1% in incisors and 40.1% in canines) were predominant. The values of the incisors and canines were positively related to skin tone (P = 0.001) and age (P = 0.001 for incisors and P = 0.003 for canines). Hue was also significantly associated with skin tone for canines (P = 0.01) and gender (P = 0.001). Regression models showed increasingly darker skin tones were positively related to duller values for incisor teeth (β = 0.173, OR =1.19, P < 0.001). The values for canines were more likely to be >2 (β = 0.118, OR =1.12, P = 0.01), but without significant positive relationship to increasingly darker skin tones (β = -0.99, OR =0.91, P = 0.22).

CONCLUSION

Skin tones were associated with upper anterior tooth shade. There was a positive relationship between skin tones and the shades of upper anterior teeth. Skin tones could guide the clinician in shade selection during complete denture prescriptions.

Modelling individual aesthetic judgements over time

Listening to music, watching a sunset-many sensory experiences are valuable to us, to a degree that differs significantly between individuals, and within an individual over time. We have theorized (Brielmann & Dayan 2022 Psychol. Rev. 129, 1319-1337 (doi:10.1037/rev0000337))) that these idiosyncratic values derive from the task of using experiences to tune the sensory-cognitive system to current and likely future input. We tested the theory using participants' (n = 59) ratings of a set of dog images (n = 55) created using the NeuralCrossbreed morphing algorithm. A full realization of our model that uses feature representations extracted from image-recognizing deep neural nets (e.g. VGG-16) is able to capture liking judgements on a trial-by-trial basis (median r = 0.65), outperforming predictions based on population averages (median r = 0.01). Furthermore, the model's learning component allows it to explain image sequence dependent rating changes, capturing on average 17% more variance in the ratings for the true trial order than for simulated random trial orders. This validation of our theory is the first step towards a comprehensive treatment of individual differences in evaluation. This article is part of the theme issue 'Art, aesthetics and predictive processing: theoretical and empirical perspectives'.

Genetic effects on variability in visual aesthetic evaluations are partially shared across visual domains

The aesthetic values that individuals place on visual images are formed and shaped over a lifetime. However, whether the formation of visual aesthetic value is solely influenced by environmental exposure is still a matter of debate. Here, we considered differences in aesthetic value emerging across three visual domains: abstract images, scenes, and faces. We examined variability in two major dimensions of ordinary aesthetic experiences: taste-typicality and evaluation-bias. We build on two samples from the Australian Twin Registry where 1547 and 1231 monozygotic and dizygotic twins originally rated visual images belonging to the three domains. Genetic influences explained 26% to 41% of the variance in taste-typicality and evaluation-bias. Multivariate analyses showed that genetic effects were partially shared across visual domains. Results indicate that the heritability of major dimensions of aesthetic evaluations is comparable to that of other complex social traits, albeit lower than for other complex cognitive traits. The exception was taste-typicality for abstract images, for which we found only shared and unique environmental influences. Our study reveals that diverse sources of genetic and environmental variation influence the formation of aesthetic value across distinct visual domains and provides improved metrics to assess inter-individual differences in aesthetic value.

Sport, the arts, and fans' loyalty: the role of color for sport fans

Sport fandom has attracted far-ranging research attention. Fans' commitment, loyalty, and sense of affinity are abundantly expressed in a long list of life practices. Precisely in this context, the color that identifies each sports team has also become an important element of the game but also a crucial component of fans' identities. The present article focuses on the esthetics of team uniform colors and identifies the artistic roles they fill. Among other things, the article addresses the important role of color, for example in identifying and distinguishing figures on the pitch from the background by creating clear borders between the elements on the pitch that compete for fans' attention; in the extension of fans' emotions through the connection between team and color; in creating the opportunity for spectators to participate fully in creating the esthetic experience on the field through the intensive use of team colors; and in enhancing a team's halo effect through the association of the team with its colors. On a deeper level, the article states that in an era of commercialized sports, the team color remains the clear and consistent symbol of the team that preserves the identity of the fans.

Changing What You Like: Modifying Contour Properties Shifts Aesthetic Valuations of Scenes

To what extent do aesthetic experiences arise from the human ability to perceive and extract meaning from visual features? Ordinary scenes, such as a beach sunset, can elicit a sense of beauty in most observers. Although it appears that aesthetic responses can be shared among humans, little is known about the cognitive mechanisms that underlie this phenomenon. We developed a contour model of aesthetics that assigns values to visual properties in scenes, allowing us to predict aesthetic responses in adults from around the world. Through a series of experiments, we manipulate contours to increase or decrease aesthetic value while preserving scene semantic identity. Contour manipulations directly shift subjective aesthetic judgments. This provides the first experimental evidence for a causal relationship between contour properties and aesthetic valuation. Our findings support the notion that visual regularities underlie the human capacity to derive pleasure from visual information.

An Attempt to Explain Visual Aesthetic Appreciation

We suggest an evolutionary based explanation for why humans are preoccupied with aesthetic aspects of visual input. Briefly, humans evolved to be swayed by positive and negative feelings in the form of rewards and punishments, and to pursue situations that induce rewards, even when the feeling is not sufficiently strong to be recognized as a reward. The brain is designed to offer rewards when a person focuses on certain types of visual stimuli. For example, warm colors are typically pleasant because they are associated with edible fruits, and complex images appeal to curiosity. At some point people began exploiting these types of brain rewards by beautifying objects and creating art. The utility of objects, and the associative (or communicative) aspects of art, may dominate the design, but the artist tends to add aesthetic elements. These elements imply visual aspects that do not add to the functional value or evoke memories or associations based on easily recognized features in the picture. The adaptive rationale for the rewards offered by the aesthetic elements should help explain human aesthetic appreciation.

What ugly and beautiful photographs reveal about COVID-19 lockdown experiences, everyday aesthetics and photography aesthetics

Against the backdrop of the COVID-19 pandemic, which restricted our daily (visual) experiences, we asked people to take an ugly and beautiful photograph from within their homes. In total, 284 photographs (142 ugly and 142 beautiful) and accompanying statements were submitted and brought to light an intimate portrait of how participants were experiencing their (lockdown) home environment. Results revealed an aesthetic preference for (living) nature. Beauty and ugliness were also connected to good versus bad views, mess versus cosiness, unflattering versus flattering portraits and positive versus negative (COVID-19) emotions. In terms of photography strategies, editing and colour were important for beautiful photographs, whereas a lack of effort and sharpness showed up relatively more in ugly photographs. A follow-up study revealed that other viewers' (n = 86) aesthetic judgements of the photographs were largely in line with the original submissions, and confirmed several of the themes. Overall, our study provides a unique photographic window on our everyday aesthetic experiences at home during the COVID-19 lockdown.

Beautiful on the inside: Aesthetic preferences and the skeletal complexity of shapes

A plain, blank canvas does not look very beautiful; to make it aesthetically appealing requires adding structure and complexity. But how much structure is best? In other words, what is the relationship between beauty and complexity? It has long been hypothesized that complexity and beauty meet at a “sweet spot,” such that the most beautiful images are neither too simple nor too complex. Here, we take a novel experimental approach to this question, using an information-theoretic approach to object representation based on an internal “skeletal” structure. We algorithmically generated a library of two-dimensional polygons and manipulated their complexity by gradually smoothing out their features—essentially decreasing the amount of information in the objects. We then stylized these shapes as “paintings” by rendering them with artistic strokes, and “mounted” them on framed canvases hung in a virtual room. Participants were shown pairs of these mounted shapes (which possessed similar structures but varied in skeletal complexity) and chose which shape looked best by previewing each painting on the canvas. Experiment 1 revealed a “Goldilocks” effect: participants preferred paintings that were neither too simple nor too complex, such that moderately complex shapes were chosen as the most attractive paintings. Experiment 2 isolated the role of complexity per se: when the same shapes were scrambled (such that their structural complexity was undermined, while other visual features were preserved), the Goldilocks effect was dramatically diminished. These findings suggest a quadratic relationship between aesthetics and complexity in ways that go beyond previous measures of each and demonstrate the utility of information-theoretic approaches for exploring high-level aspects of visual experience.

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.

On the Neuronal Dynamics of Aesthetic Experience: Evidence from Electroencephalographic Oscillatory Dynamics

Aesthetic experiences have an influence on many aspects of life. Interest in the neural basis of aesthetic experiences has grown rapidly in the past decade, and fMRI studies have identified several brain systems supporting aesthetic experiences. Work on the rapid neuronal dynamics of aesthetic experience, however, is relatively scarce. This study adds to this field by investigating the experience of being aesthetically moved by means of ERP and time-frequency analysis. Participants' electroencephalography (EEG) was recorded while they viewed a diverse set of artworks and evaluated the extent to which these artworks moved them. Results show that being aesthetically moved is associated with a sustained increase in gamma activity over centroparietal regions. In addition, alpha power over right frontocentral regions was reduced in high- and low-moving images, compared to artworks given intermediate ratings. We interpret the gamma effect as an indication for sustained savoring processes for aesthetically moving artworks compared to aesthetically less-moving artworks. The alpha effect is interpreted as an indication of increased attention for aesthetically salient images. In contrast to previous works, we observed no significant effects in any of the established ERP components, but we did observe effects at latencies longer than 1 sec. We conclude that EEG time-frequency analysis provides useful information on the neuronal dynamics of aesthetic experience.

Beauty, the feeling

Many philosophers and psychologists have made claims about what is felt in an experience of beauty. Here, we test how well these claims match the feelings that people report while looking at an image, or listening to music, or recalling a personal experience of beauty. We conducted ten experiments (total n = 851) spanning three nations (US, UK, and India). Across nations and modalities, top-rated beauty experiences are strongly characterized by six dimensions: intense pleasure, an impression of universality, the wish to continue the experience, exceeding expectation, perceived harmony in variety, and meaningfulness. Other frequently proposed beauty characteristics - like surprise, desire to understand, and mind wandering - are uncorrelated with feeling beauty. A typical remembered beautiful experience was active and social like a family holiday - hardly ever mentioning beauty - and only rarely mentioned art, unlike the academic emphasis, in aesthetics, on solitary viewing of art. Our survey aligns well with Kant and the psychological theories that emphasize pleasure, and reject theories that emphasize information seeking.

(Neuro)Aesthetics: Beauty, ugliness, and ethics

The objective of this essay is a holistic view of aesthetics, ethics, and neuroaesthetics. After a few introductory case studies, aesthetics is systematically introduced as a philosophical subdiscipline. This perspective is then expanded from aesthetics to neuroaesthetics. Using various art forms as well as current media formats, the aspects of beauty and ugliness are discussed, and aesthetic properties are expanded to include ethical implications. These can be expressed through ideals of beauty and the compulsion for body transformation. This perspective is then expanded from aesthetics to neuroaesthetics. From this point of view of art, the so-called golden ratio will play a central role. It will be shown how representations affect people and what ethical implications are associated with the effects. Therefore, this essay first has to look at art from the perspective of neuroaesthetics, and then consider the ethical aspects of the beautiful and the ugly. The considerations lead to a brief discussion of Socrates's three sieves.

Naturalness and aesthetics of colors - Preference for color compositions perceived as natural

What makes a colored image, e.g. an abstract painting or a landscape, look pleasing? We hypothesized that a preference for complex color compositions, such as paintings and images of natural scenes, might be related to how natural the colors are perceived. We tested this possibility with two experiments in which the degree of naturalness of images was manipulated by rotating their color gamut rigidly in the color space CIELAB. This changed just the hue composition, but preserved saturation and lightness. In the first experiment we obtained individual scaling curves for perceived naturalness and for preference as a function of the angle of gamut rotation for a small set of images. The naturalness and preference scaling curves were found to be largely similar and their maxima were close to the original image. In the second experiment, we tested whether this effect generalized to a larger set of images. We used a simultaneous 5AFC procedure where in each trial participants had to select the most natural or the most preferred image from five different rotations of the color gamut. The results confirmed the first experiment and showed that, in general, the images perceived as the more natural tend to be the ones that are preferred. Together these results show that perceived naturalness and preference are indeed perceptually closely related and may be driven by related mechanisms.

The pleasure of multiple images

How many pleasures can you track? In a previous study, we showed that people can simultaneously track the pleasure they experience from two images. Here, we push further, probing the individual and combined pleasures felt from seeing four images in one glimpse. Participants (N = 25) viewed 36 images spanning the entire range of pleasure. Each trial presented an array of four images, one in each quadrant of the screen, for 200 ms. On 80% of the trials, a central line cue pointed, randomly, at some screen corner either before (precue) or after (postcue) the images were shown. The cue indicated which image (the target) to rate while ignoring the others (distractors). On the other 20% of trials, an X cue requested a rating of the combined pleasure of all four images. Later, for baseline reference, we obtained a single-pleasure rating for each image shown alone. When precued, participants faithfully reported the pleasure of the target. When postcued, however, the mean ratings of images that are intensely pleasurable when seen alone (pleasure >4.5 on a 1-9 scale) dropped below baseline. Regardless of cue timing, the rating of the combined pleasure of four images was a linear transform of the average baseline pleasures of all four images. Thus, while people can faithfully track two pleasures, they cannot track four. Instead, the pleasure of otherwise above-medium-pleasure images is diminished, mimicking the effect of a distracting task.

Tracking two pleasures

Can people track several pleasures? In everyday life, pleasing stimuli rarely appear in isolation. Yet, experiments on aesthetic pleasure usually present only one image at a time. Here, we ask whether people can reliably report the pleasure of either of two images seen in a single glimpse. Participants (N = 13 in the original; +25 in the preregistered replication) viewed 36 Open Affective Standardized Image Set (OASIS) images that span the entire range of pleasure and beauty. On each trial, the observer saw two images, side by side, for 200 ms. An arrow cue pointed, randomly, left, right, or bidirectionally. Left or right indicated which image (the target) to rate while ignoring the other (the distractor); bidirectional requested rating the combined pleasure of both images. In half the blocks, the cue came before the images (precuing). Otherwise, it came after (postcuing). Precuing allowed the observer to ignore the distractor, while postcuing demanded tracking both images. Finally, we obtained single-pleasure ratings for each image shown alone. Our replication confirms the original study. People have unbiased access to their felt pleasure from each image and the average of both. Furthermore, the variance of the observer's report is similar whether reporting the pleasure of one image or the average pleasure of two. The undiminished variance for reports of the average pleasure of two images indicates either that the underlying pleasure variances are highly correlated, or, more likely, that the variance arises in the common reporting process. In brief, observers can faithfully track at least two visual pleasures.

Intense Beauty Requires Intense Pleasure

At the beginning of psychology, Fechner (1876) claimed that beauty is immediate pleasure, and that an object’s pleasure determines its value. In our earlier work, we found that intense pleasure always results in intense beauty. Here, we focus on the inverse: Is intense pleasure necessary for intense beauty? If so, the inability to experience pleasure (anhedonia) should prevent the experience of intense beauty. We asked 757 online participants to rate how intensely they felt beauty from each image. We used 900 OASIS images along with their available valence (pleasure vs. displeasure) and arousal ratings. We then obtained self-reports of anhedonia (TEPS), mood, and depression (PHQ-9). Across images, beauty ratings were closely related to pleasure ratings (r = 0.75), yet unrelated to arousal ratings. Only images with an average pleasure rating above 4 (of a possible 7) often achieved (>10%) beauty averages exceeding the overall median beauty. For normally beautiful images (average rating > 4.5), the beauty ratings were correlated with anhedonia (r ∼−0.3) and mood (r ∼ 0.3), yet unrelated to depression. Comparing each participant’s average beauty rating to the overall median (5.0), none of the most anhedonic participants exceeded the median, whereas 50% of the remaining participants did. Thus, both general and anhedonic results support the claim that intense beauty requires intense pleasure. In addition, follow-up repeated measures showed that shared taste contributed 19% to beauty-rating variance, only one third as much as personal taste (58%). Addressing age-old questions, these results indicate that beauty is a kind of pleasure, and that beauty is more personal than universal, i.e., 1.7 times more correlated with individual than with shared taste.

Kandinsky or Me? How Free Is the Eye of the Beholder in Abstract Art?

We investigated in "art-naïve" German and Chinese participants the perception of color and spatial balance in abstract art. For color perception, we asked participants (a) to adjust the color of a single element in 24 paintings according to their liking and (b) to indicate whether they preferred their version of the painting or the original. For spatial perception, we asked participants (a) to determine the "balance point" of an artwork and (b) to indicate their preferences for the original or left-right reversed orientation of previously seen and unfamiliar paintings. Results of the color experiments suggest that, even though the interactive task was of a rather open-ended nature, observers' color adjustments were not random but systematically influenced by each painting's color palette. Overall, participants liked their own color choices about as much as the original composition. Results of the spatial experiments reveal a remarkable consistency between participants in their balance point settings. The perceived lateral position of the balance point systematically affected the left-right orientation preference for a given painting. We conclude that "art-naïve" observers are sensitive to the composition of colors and spatial structures in abstract art and are influenced by their cultural backgrounds when experiencing abstract paintings.