Eliminating the mere exposure effect through changes in context between exposure and test

Do we enjoy what we sense and perceive? A dissociation between aesthetic appreciation and basic perception of environmental objects or events

This integrative review rearticulates the notion of human aesthetics by critically appraising the conventional definitions, offerring a new, more comprehensive definition, and identifying the fundamental components associated with it. It intends to advance holistic understanding of the notion by differentiating aesthetic perception from basic perceptual recognition, and by characterizing these concepts from the perspective of information processing in both visual and nonvisual modalities. To this end, we analyze the dissociative nature of information processing in the brain, introducing a novel local-global integrative model that differentiates aesthetic processing from basic perceptual processing. This model builds on the current state of the art in visual aesthetics as well as newer propositions about nonvisual aesthetics. This model comprises two analytic channels: aesthetics-only channel and perception-to-aesthetics channel. The aesthetics-only channel primarily involves restricted local processing for quality or richness (e.g., attractiveness, beauty/prettiness, elegance, sublimeness, catchiness, hedonic value) analysis, whereas the perception-to-aesthetics channel involves global/extended local processing for basic feature analysis, followed by restricted local processing for quality or richness analysis. We contend that aesthetic processing operates independently of basic perceptual processing, but not independently of cognitive processing. We further conjecture that there might be a common faculty, labeled as aesthetic cognition faculty, in the human brain for all sensory aesthetics albeit other parts of the brain can also be activated because of basic sensory processing prior to aesthetic processing, particularly during the operation of the second channel. This generalized model can account not only for simple and pure aesthetic experiences but for partial and complex aesthetic experiences as well.

Mere Exposure Effect Is Sometimes Insensitive to Mood Inductions

The mere exposure effect (MEE) is defined as repeated exposures to a stimulus enhancing affective evaluations of that stimulus (Zajonc, 1968). The three prominent explanations of the MEE are Zajonc's "neophobia" account, the uncertainty reduction account, and the perceptual fluency approach. Zajonc's "neophobia" account posits that people have an inherent low level of fear of novel objects and exposure to the objects partially extinguishes this novelty-based fear. The uncertainty reduction account asserts that people find uncertainty aversive and habituation reduces uncertainty. The fluency account postulates that people "like" representations of things with which they are fluent. In four experiments, we induced positive and negative moods before or after target exposures. In addition to assessing the MEE in each condition, we assessed the mood induction. The central hypothesis assessed in this series was that there would be an interaction between mood and the MEE. Although the three accounts of the MEE generated divergent predictions, none of the accounts were well supported by the data. Tests for mood induction demonstrated the efficacy of the induction procedures and the MEE was consistently observed, but Bayesian analysis indicated that at least in the present preparation mood had no effect on the MEE.

Multiple context mere exposure: Examining the limits of liking

Recent evidence suggests that increased liking of exposed stimuli-a phenomenon known as the mere exposure effect-is dependent on experiencing the stimuli in the same context at exposure and test. Three experiments extended this work by examining the effect of presenting target stimuli in single and multiple exposure contexts. Target face stimuli were repeatedly paired with nonsense words, which took the role of contexts, across exposure. On test, the mere exposure effect was found only when the target face stimuli were presented with nonsense word cues (contexts) with which they had been repeatedly paired. The mere exposure effect was eliminated when exposure to target face stimuli with the nonsense word cues (contexts) was minimal, despite the overall number of exposures to the target face being equated across single- and multiple-context exposure conditions. The results suggest that familiarity of the relationship between stimuli and their context, not simply familiarity of the stimuli themselves, leads to liking. The finding supports a broader framework, which suggests that liking is partly a function of the consistency between past and present experiences with a target stimulus.

Exposure is not enough: suppressing stimuli from awareness can abolish the mere exposure effect

Passive exposure to neutral stimuli increases subsequent liking of those stimuli – the mere exposure effect. Because of the broad implications for understanding and controlling human preferences, the role of conscious awareness in mere exposure has received much attention. Previous studies have claimed that the mere exposure effect can occur without conscious awareness of the stimuli. In two experiments, we applied a technique new to the mere exposure literature, called continuous flash suppression, to expose stimuli for a controlled duration with and without awareness. To ensure the reliability of the awareness manipulation, awareness was monitored on a trial-by-trial basis. Our results show that under these conditions the mere exposure effect does not occur without conscious awareness. In contrast, only when participants were aware of the stimuli did exposure increase liking and recognition. Together these data are consistent with the idea that the mere exposure effect requires conscious awareness and has important implications for theories of memory and affect.