Easy on the eyes, or hard to categorize: Classification difficulty decreases the appeal of facial blends

Fluency, prediction and motivation: how processing dynamics, expectations and epistemic goals shape aesthetic judgements

What psychological mechanisms underlie aesthetic judgements? An influential account known as the Hedonic Marking of Fluency, later developed into a Processing Fluency Theory of Aesthetic Pleasure, posits that ease of processing elicits positive feelings and thus enhances stimulus evaluations. However, the theory faces empirical and conceptual challenges. In this paper, we extend it by integrating insights from predictive processing frameworks (PPF) and the epistemic motivation model (EMM). We propose four extensions. First, fluency of a stimulus depends on perceivers' expectations-their internal model of the world. Second, perceivers also form expectations about fluency itself and thus can experience surprising fluency. These expectations can come from the individual's history, their current task and their environment. Third, perceivers can value fluency but also disfluency, reflecting their non-directional epistemic goals. Fourth, perceivers also have directional epistemic goals, preferring specific conclusions or belief content. Consequently, affective reactions depend on whether the stimulus satisfies those goals. These directional epistemic goals may override concerns about fluency or change the value of fluency associated with specific content. We review supporting evidence and introduce novel predictions. By integrating insights from PPF and EMM, our framework can better capture established fluency effects and highlights their limitations and extensions. This article is part of the theme issue 'Art, aesthetics and predictive processing: theoretical and empirical perspectives'.

The influence of musical parameters and subjective musical ratings on perceptions of culture

Recent research suggests that music can affect evaluations of other groups and cultures. However, little is known about the objective and subjective musical parameters that influence these evaluations. We aimed to fill this gap through two studies. Study 1 collected responses from 52 American participants who listened to 30 folk-song melodies from different parts of the world. Linear mixed-effects models tested the influence of objective and subjective musical parameters of these melodies on evaluations of the cultures from which they originated. Musical parameters consistently predicted cultural evaluations. The most prominent musical parameter was musical velocity, a measure of number of pitch onsets, predicting more cultural warmth, competence and evolvedness and less cultural threat. Next, with a sample of 212 American participants, Study 2 used a within-subjects experiment to alter the tempo and dissonance for a subset of six melody excerpts from Study 1, testing for causal effects. Linear mixed-effects models revealed that both dissonance and slow tempo predicted more negative cultural evaluations. Together, both studies demonstrate how musical parameters can influence cultural perceptions. Avenues for future research are discussed.

Beyond the features: The role of consistency in impressions of trust