Contemporary experimental aesthetics: State of the art technology

Perspective-taking increases emotionality and empathy but does not reduce harmful biases against American Indians: Converging evidence from the museum and lab

Given the problematic depictions of Native Americans and the pervasive cultural biases that exist, we sought to understand how contemporary educational practices in museums might encourage viewers to consider the context of their preconceptions rather than passively absorb conventional representations. In this two-part study, we tested whether and how viewers (mis)perceptions and interpretations of Native peoples might be influenced by encouraging empathy—specifically by taking the perspective of a Native individual depicted in a photograph they are visually analyzing. We randomly assigned participants in a lab setting (N = 120) and in a museum setting (N = 75) to one of three conditions (perspective-taking, stereotype-suppression, or control), and examined eye movements, self-reports, and verbal and written responses while participants viewed portrait photographs of American Indians. Notably, perspective-taking led viewers to interpret American Indians in a more emotional, empathetic, and human-centered manner than in control and suppression conditions. This was reflected in eye movements such that control and suppression participants attended to decorative features (e.g. jewelry) more than to the eyes of the depicted individual, whereas perspective-takers’ attention was more balanced. Similarly, perspective-takers used more empathetic and emotion-related language, whereas participants in control and suppression groups used more “objective” visually-descriptive language. Crucially, regardless of condition, cultural biases were stubbornly resistant to change and, in some cases, appeared even more frequently for participants adopting others’ perspectives. We argue that despite the positive outcomes associated with perspective-taking, the continued presence of cultural biases across conditions demonstrates that cultural competency-based interventions must be more complex and culturally-specific.

Evaluating Abstract Art: Relation between Term Usage, Subjective Ratings, Image Properties and Personality Traits

One of the major challenges in experimental aesthetics is the uncertainty of the terminology used in experiments. In this study, we recorded terms that are spontaneously used by participants to describe abstract artworks and studied their relation to the second-order statistical image properties of the same artworks (Experiment 1). We found that the usage frequency of some structure-describing terms correlates with statistical image properties, such as PHOG Self-Similarity, Anisotropy and Complexity. Additionally, emotion-associated terms correlate with measured color values. Next, based on the most frequently used terms, we created five different rating scales (Experiment 2) and obtained ratings of participants for the abstract paintings on these scales. We found significant correlations between descriptive score ratings (e.g., between structure and subjective complexity), between evaluative and descriptive score ratings (e.g., between preference and subjective complexity/interest) and between descriptive score ratings and statistical image properties (e.g., between interest and PHOG Self-Similarity, Complexity and Anisotropy). Additionally, we determined the participants’ personality traits as described in the ‘Big Five Inventory’ (Goldberg, 1990; Rammstedt and John, 2005) and correlated them with the ratings and preferences of individual participants. Participants with higher scores for Neuroticism showed preferences for objectively more complex images, as well as a different notion of the term complex when compared with participants with lower scores for Neuroticism. In conclusion, this study demonstrates an association between objectively measured image properties and the subjective terms that participants use to describe or evaluate abstract artworks. Moreover, our results suggest that the description of abstract artworks, their evaluation and the preference of participants for their low-level statistical properties are linked to personality traits.

Recent evidence on perception and esthetic appreciation: The role of value and expertise in canon formation

On the basis of current evidence derived from neurocognitive research, it is possible to mediate two alternative theories concerning the relationship between perception and esthetic appreciation, in particular by distinguishing between high-quality images and popular.

Walk, Look, Remember: The Influence of the Gallery's Spatial Layout on Human Memory for an Art Exhibition

The spatial organisation of museums and its influence on the visitor experience has been the subject of numerous studies. Previous research, despite reporting some actual behavioural correlates, rarely had the possibility to investigate the cognitive processes of the art viewers. In the museum context, where spatial layout is one of the most powerful curatorial tools available, attention and memory can be measured as a means of establishing whether or not the gallery fulfils its function as a space for contemplating art. In this exploratory experiment, 32 participants split into two groups explored an experimental, non-public exhibition and completed two unanticipated memory tests afterwards. The results show that some spatial characteristics of an exhibition can inhibit the recall of pictures and shift the focus to perceptual salience of the artworks.

Revealing rembrandt

The power and significance of artwork in shaping human cognition is self-evident. The starting point for our empirical investigations is the view that the task of neuroscience is to integrate itself with other forms of knowledge, rather than to seek to supplant them. In our recent work, we examined a particular aspect of the appreciation of artwork using present-day functional magnetic resonance imaging (fMRI). Our results emphasized the continuity between viewing artwork and other human cognitive activities. We also showed that appreciation of a particular aspect of artwork, namely authenticity, depends upon the co-ordinated activity between the brain regions involved in multiple decision making and those responsible for processing visual information. The findings about brain function probably have no specific consequences for understanding how people respond to the art of Rembrandt in comparison with their response to other artworks. However, the use of images of Rembrandt's portraits, his most intimate and personal works, clearly had a significant impact upon our viewers, even though they have been spatially confined to the interior of an MRI scanner at the time of viewing. Neuroscientific studies of humans viewing artwork have the capacity to reveal the diversity of human cognitive responses that may be induced by external advice or context as people view artwork in a variety of frameworks and settings.

Empirical aesthetics, the beautiful challenge: An introduction to the special issue on Art & Perception

The i-Perception special issue Art & Perception is based on the Art & Perception Conference 2010 in Brussels. Our vision with this conference was to bring together artists and vision scientists from different backgrounds to exchange views and state-of-the-art knowledge on art perception and aesthetics. The complexity of the experience of art and of aesthetic phenomena, in general, calls for specific research approaches, for which interdisciplinarity seems to be key. Following this logic, the special issue Art & Perception contains contributions by artists and vision scientists with different methodological approaches. The contributions span a wide range of topics, but are all centred around two questions: How can one understand art perception and aesthetics from a psychological point of view, and how is this reflected in art itself?

Artful terms: A study on aesthetic word usage for visual art versus film and music

Despite the importance of the arts in human life, psychologists still know relatively little about what characterises their experience for the recipient. The current research approaches this problem by studying people's word usage in aesthetics, with a focus on three important art forms: visual art, film, and music. The starting point was a list of 77 words known to be useful to describe aesthetic impressions of visual art (Augustin et al 2012, Acta Psychologica139 187–201). Focusing on ratings of likelihood of use, we examined to what extent word usage in aesthetic descriptions of visual art can be generalised to film and music. The results support the claim of an interplay of generality and specificity in aesthetic word usage. Terms with equal likelihood of use for all art forms included beautiful, wonderful, and terms denoting originality. Importantly, emotion-related words received higher ratings for film and music than for visual art. To our knowledge this is direct evidence that aesthetic experiences of visual art may be less affectively loaded than, for example, experiences of music. The results render important information about aesthetic word usage in the realm of the arts and may serve as a starting point to develop tailored measurement instruments for different art forms.

Towards a new kind of experimental psycho-aesthetics? Reflections on the Parallellepipeda project

Experimental psycho-aesthetics-the science aimed at understanding the factors that determine aesthetic experience-is reviewed briefly as background to describe the Parallellepipeda project, a cross-over project between artists and scientists in Leuven. In particular, I sketch how it started and developed further, with close interactions between the participating artists and scientists. A few examples of specific research projects are mentioned to illustrate the kind of research questions we address and the methodological approach we have taken. We often found an effect of providing participants with additional information, a difference between novice and expert participants, and a shift with increasing experience with an artwork, in the direction of tolerating more complexity and acquiring more order from it. By establishing more connections between parts of an artwork and more associations to the artwork, it becomes a stronger Gestalt, which is more easily mastered by the viewer and leads to increased appreciation. In the final part of the paper, I extract some general lessons from the project regarding a possible new way of doing psycho-aesthetics research, which is able to solve some of the problems of traditional experimental psycho-aesthetics (eg, trade-off between experimental control and ecological validity).