Preference for symmetry: only on mars?

The impact of symmetry design of intangible cultural heritage souvenir on tourists’ aesthetic pleasure

Souvenirs play an important role in tourism development. They act not only as mementos, enabling tourists to relive and retain the memory of a particular journey, but also as main income sources for tourism destinations and stakeholders. Many intangible cultural heritages (ICH) have been developed into souvenirs, especially products made by traditional craftsmanship. ICH souvenirs facilitate cultural value that is understandable to tourists, who appreciate the design of the ICH souvenirs and their contributions to a pleasure and memorable journey. Based on the theory of beauty and the preference-for-prototypes theory, this study explored how symmetry design of ICH souvenirs influences tourist’s aesthetic pleasure. As ICH souvenirs development is a commercialization process, and over-commodification would lead to cultures being lost and tourists’ disappointment, the authenticity concept is applied in order to address over-commodification. Thus, this study analyzed the moderating role of tourists’ authenticity perception of ICH souvenirs. Two lab-based between-subjects design experiments were employed to test the proposed hypotheses. Data analysis entailed multiple regression analysis, one-way ANOVA, and two-way ANOVA. The findings showed that symmetry of ICH souvenir design had a positive impact on tourists’ aesthetic pleasure. Under the symmetric-design condition, tourists’ typicality perception of ICH souvenirs positively mediated the main relationship, while under the asymmetric-design condition, tourists’ novelty perception had a negative mediating effect. The moderated mediation effects were in accord with hypotheses to some extent; at a relatively high level of authenticity perception (above mean value), the indirect effect of symmetry on aesthetic pleasure via typicality perception increased as authenticity perception rose; at a relatively low level of authenticity perception (under mean value), the indirect effect of symmetry on aesthetic pleasure via novelty perception declined as authenticity perception rose. This study identified critical factors influencing tourists’ aesthetic pleasure with ICH souvenirs, and it revealed the internal influencing mechanisms and moderating effects under different design conditions. These findings give some insights to ICH practitioners for using souvenir design to improve tourists’ aesthetic pleasure.

The Contribution of Shape Features and Demographic Variables to Disembedding Abilities

Humans naturally perceive visual patterns in a global manner and are remarkably capable of extracting object shapes based on properties such as proximity, closure, symmetry, and good continuation. Notwithstanding the role of these properties in perceptual grouping, studies highlighted differences in disembedding performance across individuals, which are summarized by the field dependence dimension. Evidence suggests that age and educational attainment explain part of this variability, whereas the role of sex is still highly debated. Also, which stimulus features primarily influence inter-individual variations in perceptual grouping has still to be fully determined. Building upon these premises, we assessed the role of age, education level, and sex on performance at the Leuven Embedded Figure Test—a proxy of disembedding abilities—in 391 cisgender individuals. We also investigated to what extent shape symmetry, closure, complexity, and continuation relate to task accuracy. Overall, target asymmetry, closure, and good continuation with the embedding context increase task difficulty. Simpler shapes are more difficult to detect than those with more lines, yet context complexity impairs the recognition of complex targets (i.e., those with 6 lines or more) to a greater extent. Concerning demographic data, we confirm that age and educational attainment are significantly associated with disembedding abilities and reveal a perceptual advantage in males. In summary, our study further highlights the role of shape properties in disembedding performance and unveils sex differences not reported so far.

The Role of Art Expertise and Symmetry on Facial Aesthetic Preferences

Humans, like other species, have a preference for symmetrical visual stimuli, a preference that is influenced by factors such as age, sex, and artistic training. In particular, artistic training seems to decrease the rejection of asymmetry in abstract stimuli. However, it is not known whether the same trend would be observed in relation to concrete stimuli such as human faces. In this article, we investigated the role of expertise in visual arts, music, and dance, in the perceived beauty and attractiveness of human faces with different asymmetries. With this objective, the beauty and attractiveness of 100 photographs of faces with different degrees of asymmetry were evaluated by 116 participants with different levels of art expertise. Expertise in visual arts and dance was associated with the extent to which facial asymmetry influenced the beauty ratings assigned to the faces. The greater the art expertise in visual arts and dance, the more indifferent to facial asymmetry the participant was to evaluate beauty. The same effect was not found for music and neither for attractiveness ratings. These findings are important to help understand how face aesthetic evaluation is modified by artistic training and the difference between beauty and attractiveness evaluations.

What Experts Appreciate in Patterns: Art Expertise Modulates Preference for Asymmetric and Face-Like Patterns

This study set out to investigate whether and how aesthetic evaluations of different types of symmetric, as well as abstract vs. representational patterns are modulated by art expertise. To this end, we utilized abstract asymmetric, symmetric, and “broken” patterns slightly deviating from symmetry, as well as more representational patterns resembling faces (also symmetric or broken). While it has already been shown that symmetry preference decreases with art expertise, it was still unclear whether an already established relationship between art expertise and preference for abstract over representational art can be similarly found as a preference for abstract over representational patterns, as these are non-art objects. Nevertheless, we found profound differences in aesthetic preferences between art experts and laypersons. While art experts rated asymmetric patterns higher than laypersons, as expected, they rated face-like patterns lower than laypersons. Also, laypersons rated all other types of patterns higher than asymmetric patterns, while art experts rated the other patterns similar or lower than asymmetric patterns. We found this both for liking and for interest ratings. As no differences between art experts and laypersons were found regarding memory recognition of new and old patterns, this effect is not likely due to differences in memory performance. In sum, this study further extends our knowledge about the influence of art expertise on aesthetic appreciation.

The Automatic Evaluation of Regularity and Semantic Decodability in Wallpaper Decorative Patterns

The perception and evaluation of decorative patterns can have a high impact in daily life but has received little empirical attention. This article attempts to offer some insight in terms of the regularity and semantic decodability. The implicit attitudes of subjects were measured by the Implicit Association Test. The results showed that regularity and semantic information can be automatically evaluated. The regular and realistic wallpaper decorative patterns are implicitly preferred to random and abstract ones. The Implicit Association Test effect of the former was greater than the latter. The increase in the number of motifs led to a decrease in the response latencies of regular and realistic patterns. The findings indicated that the processing fluency of wallpaper patterns is enhanced by a translational symmetry operation and a higher conceptual fluency of motifs. The resulting processing acceleration in high-density patterns may be due to the formation of a better Gestalt when the motifs are closer to one another.

Effects of organization and disorganization on pleasantness, calmness, and the frontal negativity in the event-related potential

A preference for organization is associated with several disorders, but is widespread in the general population as well. It remains unclear whether organization and various degrees of disorganization elicit pleasant or unpleasant feelings (i.e., valence), calming or arousing feelings (i.e., arousal), and a frontal negativity in the event-related potential (ERP) related to cognitive control. This study tested how organization, slight disorganization, and total disorganization affect valence, arousal, and the frontal negativity. Participants passively viewed organized, slightly disorganized, totally disorganized, and control pictures while their electroencephalogram was recorded. They also rated the valence and arousal elicited by each picture and completed questionnaires assessing desire for order and organization behavior. Organized pictures made participants feel most pleasant, control pictures made participants feel less pleasant, slightly disorganized pictures made participants feel even less pleasant, and totally disorganized pictures made participants feel least pleasant. There were no significant effects on arousal. Totally disorganized pictures elicited a frontal negativity in the ERP between 200–2000 ms after stimulus onset, which might reflect inhibition of rearranging behavior. Individual differences in desire for order and organization behavior did not correlate with valence, arousal, or the frontal negativity. The current study design and findings could be a starting point for examining the differences between adaptive and maladaptive preferences for organization and aversions to disorganization.

Haptic aesthetics in the blind: A behavioral and fMRI investigation

Understanding perception and aesthetic appeal of arts and environmental objects, what is appreciated, liked, or preferred, and why, is of prime importance for improving the functional capacity of the blind and visually impaired and the ergonomic design for their environment, which however so far, has been examined only in sighted individuals. This paper provides a general overview of the first experimental study of tactile aesthetics as a function of visual experience and level of visual deprivation, using both behavioral and brain imaging techniques. We investigated how blind people perceive 3D tactile objects, how they characterize them, and whether the tactile perception, and tactile shape preference (liking or disliking) and tactile aesthetic appreciation (judging tactile qualities of an object, such as pleasantness, comfortableness etc.) of 3D tactile objects can be affected by the level of visual experience. The study employed innovative behavioral measures, such as new forms of aesthetic preference-appreciation and perceptual discrimination questionnaires, in combination with advanced functional Magnetic Resonance Imaging (fMRI) techniques, and compared congenitally blind, late-onset blind and blindfolded (sighted) participants. Behavioral results demonstrated that both blind and blindfolded-sighted participants assessed curved or rounded 3D tactile objects as significantly more pleasing than sharp 3D tactile objects, and symmetric 3D tactile objects as significantly more pleasing than asymmetric 3D tactile objects. However, as compared to the sighted, blind people showed better skills in tactile discrimination as demonstrated by accuracy and speed of discrimination. Functional MRI results demonstrated that there was a large overlap and characteristic differences in the aesthetic appreciation brain networks in the blind and the sighted. As demonstrated both populations commonly recruited the somatosensory and motor areas of the brain, but with stronger activations in the blind as compared to the sighted. Secondly, sighted people recruited more frontal regions whereas blind people, in particular, the congenitally blind, paradoxically recruited more 'visual' areas of the brain. These differences were more pronounced between the sighted and the congenitally blind rather than between the sighted and the late-onset blind, indicating the key influence of the onset time of visual deprivation. Understanding of the underlying brain mechanisms should have a wide range of important implications for a generalized cross-sensory theory and practice in the rapidly evolving field of neuroaesthetics, as well as for 'cutting-edge' rehabilitation technologies for the blind and the visually impaired.

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).