A psycho-historical research program for the integrative science of art

Imaginative Enrichment Produces Higher Preference for Unusual Music Than Historical Framing: A Literature Review and Two Empirical Studies

Does accompanying information (“framing”) such as in a program note influence our preference for music? To date the findings have been mixed, although a small body of research has suggested that when framing accompanies music considered unusual (characterized by extreme complexity and extreme unfamiliarity), the music may be preferred compared to when no such framing occurs. A literature review (study 1) revealed that for 50% of experiments where valenced framing (positive versus negative suggestions of prestige) was manipulated, positive framing was accompanied by significantly higher ratings of preference and/or quality judgements. However, only one example contained music that could be considered unusual (atonal music). We therefore conducted two follow-up experiments, with each examining the influence of valenced framing as well as historical framing (accompanying historical details) for music intended to be unusual. Study 2 manipulated framing for an excerpt using atonal music, although we were unable to find evidence that positively valenced historical framing increased preference for this piece. A surprising finding in study 2 was that our active control—requiring the participant to engage imaginatively with the music—produced a significant increase in preference. Subsequently, in study 3 we examined the same three framing conditions and included both an unusual excerpt (free jazz) as well as an over-familiar, typical excerpt for comparison (being a repeatedly pre-exposed classical piano piece). Study 3 produced no significant differences in preference ratings between the two historical conditions, although a positive impact of imagination was again evident. We concluded that the impact of historical framing may be highly subjective and not of favorable consequence to the typical listener. Furthermore, while imaginative engagement appears a fruitful avenue for further preference research, it has been largely ignored.

Psycho-Historical Contextualization for Music and Visual Works: A Literature Review and Comparison Between Artistic Mediums

A significant contribution to the literature on aesthetics in the last decade has been Bullot and Reber's ecologically-driven psycho-historical framework for the science of art appreciation (PHF). The framework proposes that the presence of contextualizing information accompanying an artwork will impart a substantial impact on appreciation for it, which is accessible through understanding of the causal information surrounding the work. Artistic understanding is outlined in terms of three hierarchical “modes” of appreciation. This paper tested a simplified hypothesis drawn from the PHF, using results reported in the existing literature. As Bullot and Reber note that such a framework is relevant for any artistic medium containing causal information, results were drawn from literature concerned with either music or visual works. Our review identified 34 studies that reported results of appreciation (or equivalent) as a dependent variable, while manipulating contextual/historical information for the stimuli as an independent variable. Overall the results were consistent across the two artistic mediums: 9 experiments (26%) produced strong support for the PHF, 6 experiments (18%) produced inconclusive results, and 19 experiments (56%) produced no support for the PHF. We concluded that the majority of the reviewed literature does not support the simplified PHF hypothesis for either medium. However, we also discuss a number of limitations surrounding these studies which may have produced a substantial impact on the categorization results: small sample sizes in some studies, difficulty in translating philosophically-based theory into empirical practice, and interactions with variables such as exposure and “unusualness.”

The Effect of Memory in Inducing Pleasant Emotions with Musical and Pictorial Stimuli

Music is known to evoke emotions through a range of mechanisms, but empirical investigation into the mechanisms underlying different emotions is sparse. This study investigated how affective experiences to music and pictures vary when induced by personal memories or mere stimulus features. Prior to the experiment, participants were asked to select eight types of stimuli according to distinct criteria concerning the emotion induction mechanism and valence. In the experiment, participants (N = 30) evaluated their affective experiences with the self-chosen material. EEG was recorded throughout the session. The results showed certain interaction effects of mechanism (memory vs. stimulus features), emotional valence of the stimulus (pleasant vs. unpleasant), and stimulus modality (music vs. pictures). While effects were mainly similar in music and pictures, the findings suggest that when personal memories are involved, stronger positive emotions were experienced in the context of music, even when the music was experienced as unpleasant. Memory generally enhanced social emotions specifically in pleasant conditions. As for sadness and melancholia, stimulus features did not evoke negative experiences; however, these emotions increased strongly with the involvement of memory, particularly in the condition of unpleasant music. Analysis of EEG-data corroborated the findings by relating frontomedial theta activity to memory-evoking material.

Artistic misunderstandings: The emotional significance of historical learning in the arts

The Distancing-Embracing model does not have the conceptual resources to explain artistic misunderstandings and the emotional consequences of historical learning in the arts. Specifically, it suggests implausible predictions about emotional distancing caused by art schemata (e.g., misunderstandings of artistic intentions and contexts). These problems show the need for further inquiries into how historical contextualization modulates negative emotions in the arts.

The Distancing-Embracing model of the enjoyment of negative emotions in art reception

Why are negative emotions so central in art reception far beyond tragedy? Revisiting classical aesthetics in the light of recent psychological research, we present a novel model to explain this much discussed (apparent) paradox. We argue that negative emotions are an important resource for the arts in general, rather than a special license for exceptional art forms only. The underlying rationale is that negative emotions have been shown to be particularly powerful in securing attention, intense emotional involvement, and high memorability, and hence is precisely what artworks strive for. Two groups of processing mechanisms are identified that conjointly adopt the particular powers of negative emotions for art's purposes. The first group consists of psychological distancing mechanisms that are activated along with the cognitive schemata of art, representation, and fiction. These schemata imply personal safety and control over continuing or discontinuing exposure to artworks, thereby preventing negative emotions from becoming outright incompatible with expectations of enjoyment. This distancing sets the stage for a second group of processing components that allow art recipients to positively embrace the experiencing of negative emotions, thereby rendering art reception more intense, more interesting, more emotionally moving, more profound, and occasionally even more beautiful. These components include compositional interplays of positive and negative emotions, the effects of aesthetic virtues of using the media of (re)presentation (musical sound, words/language, color, shapes) on emotion perception, and meaning-making efforts. Moreover, our Distancing-Embracing model proposes that concomitant mixed emotions often help integrate negative emotions into altogether pleasurable trajectories.

Art and fiction are signals with indeterminate truth values

Menninghaus et al. distinguish art from fiction, but no current arguments or data suggest that the concept of art can be meaningfully circumscribed. This is a problem for aesthetic psychology. I sketch a solution by rejecting the distinction: Unlike most animal communication, in which signals are either true or false, art and fiction consist of signals without determinate truth values.

Effects of Facial Symmetry and Gaze Direction on Perception of Social Attributes: A Study in Experimental Art History

This article explores the possibility of testing hypotheses about art production in the past by collecting data in the present. We call this enterprise "experimental art history". Why did medieval artists prefer to paint Christ with his face directed towards the beholder, while profane faces were noticeably more often painted in different degrees of profile? Is a preference for frontal faces motivated by deeper evolutionary and biological considerations? Head and gaze direction is a significant factor for detecting the intentions of others, and accurate detection of gaze direction depends on strong contrast between a dark iris and a bright sclera, a combination that is only found in humans among the primates. One uniquely human capacity is language acquisition, where the detection of shared or joint attention, for example through detection of gaze direction, contributes significantly to the ease of acquisition. The perceived face and gaze direction is also related to fundamental emotional reactions such as fear, aggression, empathy and sympathy. The fast-track modulator model presents a related fast and unconscious subcortical route that involves many central brain areas. Activity in this pathway mediates the affective valence of the stimulus. In particular, different sub-regions of the amygdala show specific activation as response to gaze direction, head orientation and the valence of facial expression. We present three experiments on the effects of face orientation and gaze direction on the judgments of social attributes. We observed that frontal faces with direct gaze were more highly associated with positive adjectives. Does this help to associate positive values to the Holy Face in a Western context? The formal result indicates that the Holy Face is perceived more positively than profiles with both direct and averted gaze. Two control studies, using a Brazilian and a Dutch database of photographs, showed a similar but weaker effect with a larger contrast between the gaze directions for profiles. Our findings indicate that many factors affect the impression of a face, and that eye contact in combination with face direction reinforce the general impression of portraits, rather than determine it.

Neuroscience of aesthetics

Aesthetic evaluations are appraisals that influence choices in important domains of human activity, including mate selection, consumer behavior, art appreciation, and possibly even moral judgment. The nascent field of neuroaesthetics is advancing our understanding of the role of aesthetic evaluations by examining their biological bases. Here, we conduct a selective review of the literature on neuroaesthetics to demonstrate that aesthetic experiences likely emerge from the interaction between emotion-valuation, sensory-motor, and meaning-knowledge neural systems. This tripartite model can in turn be evoked to explain phenomena central to aesthetics, such as context effects on preferences. Indeed, context-dependent appraisals that focus on objects rather than on outcomes could be an important factor distinguishing aesthetic experiences from other kinds of evaluations.

Agent tracking: a psycho-historical theory of the identification of living and social agents

To explain agent-identification behaviours, universalist theories in the biological and cognitive sciences have posited mental mechanisms thought to be universal to all humans, such as agent detection and face recognition mechanisms. These universalist theories have paid little attention to how particular sociocultural or historical contexts interact with the psychobiological processes of agent-identification. In contrast to universalist theories, contextualist theories appeal to particular historical and sociocultural contexts for explaining agent-identification. Contextualist theories tend to adopt idiographic methods aimed at recording the heterogeneity of human behaviours across history, space, and cultures. Defenders of the universalist approach tend to criticise idiographic methods because such methods can lead to relativism or may lack generality. To overcome explanatory limitations of proposals that adopt either universalist or contextualist approaches in isolation, I propose a philosophical model that integrates contributions from both traditions: the psycho-historical theory of agent-identification. This theory investigates how the tracking processes that humans use for identifying agents interact with the unique socio-historical contexts that support agent-identification practices. In integrating hypotheses about the history of agents with psychological and epistemological principles regarding agent-identification, the theory can generate novel hypotheses regarding the distinction between recognition-based, heuristic-based, and explanation-based agent-identification.