Neuroscience of aesthetics

The aesthetic experience of general beauty and ugly-cute memes: the role of emotion

Generally, beauty has been regarded as an outward expression of elegance and harmony, providing visual pleasure and evoking a sense of aesthetic enjoyment. However, in recent years, a phenomenon called "ugly-cute" has emerged, challenging the conventional standards of beauty by embracing a form of "ugliness" to enhance its appeal. The reasons and mechanisms behind this phenomenon remain largely unexplored so far. This study aims to investigate the role of emotions, such as pleasure, humor, and surprise, in the relationship between ugly-cute characteristics and attractiveness. The findings reveal that general beauty directly generates attractiveness by eliciting pleasurable emotions, whereas ugly-cute memes achieve attractiveness by inducing pleasurable emotions through the mediation of humor. Furthermore, while both "ugly" and "ugly-cute" memes evoke a sense of surprise, that elicited by ugly-cute memes is accompanied by a humorous response, thereby enhancing their attractiveness, whereas the "ugly" memes fail to evoke humor and lack attractiveness. Finally, we discuss the potential implications and practical value of the current research.

Art perception is affected by negative knowledge about famous and unknown artists

The biographies of some celebrated artists are marked by accounts that paint a far from beautiful portrait. Does this negative-social knowledge influence the aesthetic experience of an artwork? Does an artist's fame protect their paintings from such an influence? We present two preregistered experiments examining the effect of social-emotional biographical knowledge about famous and unknown artists on the reception and perception of their paintings, using aesthetic ratings and neurocognitive measures. In Experiment 1, paintings attributed to artists characterised by negative biographical information were liked less, evoked greater feelings of arousal and were judged lower in terms of quality, than paintings by artists associated with neutral information. No modulation of artist renown was found. Experiment 2 fully replicated these behavioural results and revealed that paintings by artists associated with negative social-emotional knowledge also elicited enhanced early brain activity related to visual perception (P1) and early emotional arousal (early posterior negativity; EPN). Together, the findings suggest that negative knowledge about famous artists can shape not only explicit aesthetic evaluations, but may also penetrate the perception of the artwork itself.

The unexplored territory of aesthetic needs and the development of the Aesthetic Needs Scale

Human needs, and their fulfillment, are the building blocks of human development, personality, and well-being. However, no published paper in the field of psychology has focused on exploring aesthetic needs. Maslow (1986) gave the topic little more than a paragraph; and Dweck [1], in her elegant Unified Theory of Motivation, Personality, and Development, never mentions aesthetic needs. The aim of this article is to describe developing a scale for measuring the intensity of aesthetic needs. The structure, psychometric properties, and criterion-related validity of the scale were verified with three independent samples (total N = 592). The results of an EFA and two CFAs indicated a three-factor structure: 1) the need to aestheticize everyday life (aesthetic experiences of everyday objects and events unrelated to art, such as the presentation of food or the appearance of a workspace, etc.); 2) the need for contact with aesthetic creations (the arts); 3) the need to aestheticize the built and natural environments (urban spaces, architecture, parks, wild nature, etc.). In addition, our criterion-related convergent validity studies have shown that people with high aesthetic needs are characterized by experiencing more intense experiences in contact with works of art, have higher aesthetic competence in art, are more intensely involved in four forms of beauty, have a higher ability to integrate beauty, a stronger trait gratitude, curiosity about nature, greater sensitivity to disgust, and the need for internal and external stimulation. This scale may prove useful in research on individual differences and the psychology of aesthetics.

Ecological decoding of visual aesthetic preference with oscillatory electroencephalogram features-A mini-review

In today's digital information age, human exposure to visual artifacts has reached an unprecedented quasi-omnipresence. Some of these cultural artifacts are elevated to the status of artworks which indicates a special appreciation of these objects. For many persons, the perception of such artworks coincides with aesthetic experiences (AE) that can positively affect health and wellbeing. AEs are composed of complex cognitive and affective mental and physiological states. More profound scientific understanding of the neural dynamics behind AEs would allow the development of passive Brain-Computer-Interfaces (BCI) that offer personalized art presentation to improve AE without the necessity of explicit user feedback. However, previous empirical research in visual neuroaesthetics predominantly investigated functional Magnetic Resonance Imaging and Event-Related-Potentials correlates of AE in unnaturalistic laboratory conditions which might not be the best features for practical neuroaesthetic BCIs. Furthermore, AE has, until recently, largely been framed as the experience of beauty or pleasantness. Yet, these concepts do not encompass all types of AE. Thus, the scope of these concepts is too narrow to allow personalized and optimal art experience across individuals and cultures. This narrative mini-review summarizes the state-of-the-art in oscillatory Electroencephalography (EEG) based visual neuroaesthetics and paints a road map toward the development of ecologically valid neuroaesthetic passive BCI systems that could optimize AEs, as well as their beneficial consequences. We detail reported oscillatory EEG correlates of AEs, as well as machine learning approaches to classify AE. We also highlight current limitations in neuroaesthetics and suggest future directions to improve EEG decoding of AE.

The mediating effect of the need for cognition between aesthetic experiences and aesthetic competence in art

Although the role of aesthetics and aesthetic education in everyday life was discussed as early as the ancient philosophers, the psychological mechanisms shaping the aesthetic quotient have hardly been investigated by empirical studies. The aim of this study was to examine the direct relationship between experience and aesthetic competence, and the mediating role of need for cognition. The study involved 201 Polish adults, aged 18 to 76 (M = 26.40; SD = 11.89), 65% of whom were women. The respondents completed anonymous questionnaires on an online platform. The surveys included a metric, the Aesthetic Competence Scale (ACS), the Aesthetic Experience Questionnaire (AEQ) and the Need for Cognition Scale (NCS). A positive correlation coefficient was obtained between all three variables studied, with need for cognition acting as a mediator in the relationship between experience and aesthetic competence. The findings indicate that individuals reporting intense aesthetic experiences have a higher aesthetic competence if this relationship is mediated by a high need for cognitive effort.

Nature-Based Interventions Targeting Elderly People's Health and Well-Being: An Evidence Map

BACKGROUND

Healthy aging encompasses more than the absence of disease, emphasizing the preservation of functional abilities for enhanced well-being and quality of life. Nature-based interventions are scientifically proven contributors to healthy aging.

OBJECTIVE

To develop an evidence map showcasing nature-based interventions targeting older individuals' health and well-being.

METHODS

The evidence map was developed through critical analysis of systematic reviews and clinical trials utilizing the tools AMSTAR2 and CONSORT. A systematic search spanning the past decade was conducted across databases: Cochrane, SCOPUS, PubMed, Web of Science, Embase, and LILACS.

RESULTS

Twelve articles met the eligibility criteria. Nature-based interventions such as forest bathing, hiking, therapeutic gardens, virtual reality, and forest sounds were identified. Outcomes were categorized into physical aspects (cardiovascular and pulmonary; neuro-immuno-endocrinological) and mental/behavioral aspects. The final map integrated interventions, outcomes, and quality assessments.

CONCLUSIONS

The survey highlights the positive impact of nature-based interventions on the health of the elderly. This study provides insights across various domains, fostering the development of programs and policies in management to promote healthy aging. Regarding healthcare, it encourages discourse among professionals regarding the integration of nature-based practices for equitable care in both individual and group settings. Furthermore, it underscores the need for research in the Southern Hemisphere, particularly in Brazil, where the study was conducted.

Genetic effects on variability in visual aesthetic evaluations are partially shared across visual domains

The aesthetic values that individuals place on visual images are formed and shaped over a lifetime. However, whether the formation of visual aesthetic value is solely influenced by environmental exposure is still a matter of debate. Here, we considered differences in aesthetic value emerging across three visual domains: abstract images, scenes, and faces. We examined variability in two major dimensions of ordinary aesthetic experiences: taste-typicality and evaluation-bias. We build on two samples from the Australian Twin Registry where 1547 and 1231 monozygotic and dizygotic twins originally rated visual images belonging to the three domains. Genetic influences explained 26% to 41% of the variance in taste-typicality and evaluation-bias. Multivariate analyses showed that genetic effects were partially shared across visual domains. Results indicate that the heritability of major dimensions of aesthetic evaluations is comparable to that of other complex social traits, albeit lower than for other complex cognitive traits. The exception was taste-typicality for abstract images, for which we found only shared and unique environmental influences. Our study reveals that diverse sources of genetic and environmental variation influence the formation of aesthetic value across distinct visual domains and provides improved metrics to assess inter-individual differences in aesthetic value.

Aesthetic emotions are affected by context: a psychometric network analysis

Aesthetic emotions are defined as emotions arising when a person evaluates a stimulus for its aesthetic appeal. Whether these emotions are unique to aesthetic activities is debated. We address this debate by examining if recollections of different types of engaging activities entail different emotional profiles. A large sample of participants were asked to recall engaging aesthetic (N = 167), non-aesthetic (N = 160), or consumer (N = 172) activities. They rated the extent to which 75 candidate aesthetic emotions were evoked by these activities. We applied a computational psychometric network approach to represent and compare the space of these emotions across the three conditions. At the behavioral level, recalled aesthetic activities were rated as the least vivid but most intense compared to the two other conditions. At the network level, we found several quantitative differences across the three conditions, related to the typology, community (clusters) and core nodes (emotions) of these networks. Our results suggest that aesthetic and non-aesthetic activities evoke emotional spaces differently. Thus, we propose that aesthetic emotions are distributed differently in a multidimensional aesthetic space than for other engaging activities. Our results highlight the context-specificity of aesthetic emotions.

Aesthetic resistance: publicness, potentiality, and plexus

This paper explicates the concept of aesthetic resistance (AR) and its connection to sociopolitical change, drawing from resistance studies' frameworks. Combining semi-structured and integrative reviews of literature on resistance in art and aesthetics across the humanities and social sciences, the paper performs a thematic analysis to identify patterns in AR's definitions, modes and domains, attributes, and transformative variables. These are synthesized in terms of the evolving resistance studies' frameworks and an understanding of aesthetics as relating to the sensorium, ultimately revealing three interlocking issues: (1) publicness, (2) potentiality, and (3) plexus. These AR-specific issues contribute to the categorization of resistance, its identification, and the tracing of its network en route to change.

The role of the body in the experience of installation art: a case study of visitors' bodily, emotional, and transformative experiences in Tomás Saraceno's "in orbit"

Installation art, with its immersive and participatory character, has been argued to require the use and awareness of the body, which potentially constitute key parts of the artwork's experience and appreciation. Heightened body awareness is even argued to be a key to particularly profound emotional or even transformative states, which have been frequently ascribed to this genre. However, the body in the experience of installation art has rarely been empirically considered. To address this gap, we investigated the body's role in the experience of Tomás Saraceno's in orbit installation. Based on a list of self-report items created from a review of the theoretical literature, we-for the first time-captured (quantitatively and qualitatively): what kind of subjective bodily experiences visitors (N = 230) reported, how these items grouped into clusters (using network science), and how these relate to emotion, art appraisal, and transformative outcomes. Network analysis of the items determined four communities related to "interoception," "presence," "disturbance," and "proprioception." Proprioception (e.g., awareness of balance/movement/weight) turned out to be a significant determinant of art appreciation in our study, and, together with "disturbing" body experiences (feeling awkward/watched/chills), coincided with transformation. We also assessed individual differences in body awareness yet did not find that these moderate those relationships. We suggest future research on installation art based on a more unified assessment of the role of the body in embodied-enactive aesthetics and its relation to the intensity and impact of art experience in general.

Humans versus AI: whether and why we prefer human-created compared to AI-created artwork

With the recent proliferation of advanced artificial intelligence (AI) models capable of mimicking human artworks, AI creations might soon replace products of human creativity, although skeptics argue that this outcome is unlikely. One possible reason this may be unlikely is that, independent of the physical properties of art, we place great value on the imbuement of the human experience in art. An interesting question, then, is whether and why people might prefer human-compared to AI-created artworks. To explore these questions, we manipulated the purported creator of pieces of art by randomly assigning a "Human-created" or "AI-created" label to paintings actually created by AI, and then assessed participants' judgements of the artworks across four rating criteria (Liking, Beauty, Profundity, and Worth). Study 1 found increased positive judgements for human- compared to AI-labelled art across all criteria. Study 2 aimed to replicate and extend Study 1 with additional ratings (Emotion, Story, Meaningful, Effort, and Time to create) intended to elucidate why people more-positively appraise Human-labelled artworks. The main findings from Study 1 were replicated, with narrativity (Story) and perceived effort behind artworks (Effort) moderating the label effects ("Human-created" vs. "AI-created"), but only for the sensory-level judgements (Liking, Beauty). Positive personal attitudes toward AI moderated label effects for more-communicative judgements (Profundity, Worth). These studies demonstrate that people tend to be negatively biased against AI-created artworks relative to purportedly human-created artwork, and suggest that knowledge of human engagement in the artistic process contributes positively to appraisals of art.

The Effect of Moral Behavior on Facial Attractiveness

Purpose

Evaluating face attractiveness is a core aspect of face perception, which plays an important role in impression formation. A more reliable source of information in impression formation is moral behavior, which forms the primary basis for the comprehensive evaluation of others. Previous studies have found that one can easily form an association when faces and moral behaviors are presented together, which in turn affects facial attractiveness evaluation. However, little is known of the extent to which these learned associations affect facial attractiveness and whether the influence of moral behavior on facial attractiveness was related to facial appearance.

Methods

We used the associative learning paradigm and manipulated face presentation duration (Experiment 1 and Experiment 2) and response deadline (Experiment 2) to investigate these issues. Under these conditions, the association information was difficult to be retrieved. Participants learned associations between faces and scenes of moral behavior, and then evaluated facial attractiveness.

Results

We found that both moral behavior and facial appearance influence facial attractiveness under conditions where associated information was difficult to retrieve, and their effects increased with the increase of face presentation time. With increasing response deadlines, the effect of moral behavior on facial attractiveness increased. The influence of moral behavior on facial attractiveness was associated with facial appearance.

Conclusion

These results suggest that moral behavior continuously affects facial attractiveness. Our findings expand previous research by showing a robust influence of moral behavior on facial attractiveness evaluation, and highlight the important role of moral character in impression formation.

Separating art from the artist: The effect of negative affective knowledge on ERPs and aesthetic experience

Some artists do terrible things. But does knowing something bad about an artist affect the way we perceive the work? Despite increased public interest, this question has yet to be addressed empirically. In this pre-registered study, we used aesthetic ratings and electrophysiological brain responses to shed light on the issue. We found that paintings of artists associated with negative-social biographical knowledge were liked less and found more arousing than paintings of artists associated with neutral information. Such paintings also elicited an enhanced brain response associated with fast and reflexive processing of emotional stimuli (early posterior negativity; EPN). Evaluations of quality and later, more controlled brain responses (late positive potential; LPP) were not affected. Reflecting the complexity of aesthetic experience, this pattern of results became more differentiated when the visual relatedness between the contents of the painting and the artist-related information was taken into account. Overall, our findings suggest that emotional aspects involved in art reception are not spontaneously separated from the artist, whilst evaluative judgments and more elaborate processing may be.

The contour effect: Differences in the aesthetic preference and stress response to photo-realistic living environments

The interest in the response to contours has recently re-emerged, with various studies suggesting a universal preference for curved over angular stimuli. Although no consensus has yet been reached on the reasons for this preference, similar effects have been proposed in interior environments. However, the scarcely available research primarily depends on schematic or unmatched stimuli and faces heterogeneity in the reported results. In a within-subject design, we investigated the claimed contour effect in photo-realistic indoor environments using stimulus material previously tested in virtual reality (VR). A total of 198 online participants rated 20 living room images, exclusively manipulated on the contours (angular vs. curved) and style (modern vs. classic) levels. The scales represented aesthetic (beauty and liking) and stress (rest and stress) responses. Beyond our main focus on contours, we additionally examined style and sex effects to account for potential interactions. Results revealed a significant main effect of contours on both aesthetic (η2g = 1–2%) and stress (η2g = 8–12%) ratings. As expected, images of curved (vs. angular) contours scored higher on beauty, liking, and rest scales, and lower on stress. Regarding interactions with style, curvature was aesthetically preferred over angularity only within images depicting modern interiors, however, its positive effect on stress responses remained significant irrespective of style. Furthermore, we observed sex differences in aesthetic but not in stress evaluations, with curvature preference only found in participants who indicated female as their sex. In sum, our study primarily confirms positive effects of curvature, however, with multiple layers. First, the impact on aesthetic preference seems to be influenced by individual and contextual factors. Second, in terms of stress responses, which might be especially relevant for designs intended to promote mental-health, the consistent effects suggest a more generalizable, potentially biophilic characteristic of curves. To the best of our knowledge, this is the first study to demonstrate these effects in fully-matched, photo-realistic, and multi-perspective interior design stimuli. From the background of a previous VR trial from our research group, whereby the same rooms did not elicit any differences, our findings propose that static vs. immersive presentations might yield different results in the response to contours.

Different routes to liking: how readers arrive at narrative evaluations

When two people read the same story, they might both end up liking it very much. However, this does not necessarily mean that their reasons for liking it were identical. We therefore ask what factors contribute to “liking” a story, and—most importantly—how people vary in this respect. We found that readers like stories because they find them interesting, amusing, suspenseful and/or beautiful. However, the degree to which these components of appreciation were related to how much readers liked stories differed between individuals. Interestingly, the individual slopes of the relationships between many of the components and liking were (positively or negatively) correlated. This indicated, for instance, that individuals displaying a relatively strong relationship between interest and liking, generally display a relatively weak relationship between sadness and liking. The individual differences in the strengths of the relationships between the components and liking were not related to individual differences in expertize, a characteristic strongly associated with aesthetic appreciation of visual art. Our work illustrates that it is important to take into consideration the fact that individuals differ in how they arrive at their evaluation of literary stories, and that it is possible to quantify these differences in empirical experiments. Our work suggests that future research should be careful about “overfitting” theories of aesthetic appreciation to an “idealized reader,” but rather take into consideration variations across individuals in the reason for liking a particular story.

Neuroaesthetic exploration on the cognitive processing behind repeating graphics

Repeating graphics are common research objects in modern design education. However, we do not exactly know the attentional processes underlying graphic artifacts consisting of repeating rhythms. In this experiment, the event-related potential, a neuroscientific measure, was used to study the neural correlates of repeating graphics within graded orderliness. We simulated the competitive identification process of people recognizing artifacts with graded repeating rhythms from a scattered natural environment with the oddball paradigm. In the earlier attentional processing related to the P2 component around the Fz electrode within the 150-250 ms range, a middle-grade repeating rhythm (Target 1) did not show a difference from a high-grade repeating rhythm (Target 2). However, in the later cognitive processes related to the P3b component around the Pz electrode within the 300-450 ms range, Target 1 had longer peak latency than Target 2, based on similar waveforms. Thus, we may suppose that the arrangement of the repeating graphics did not influence the earlier attentional processing but affected the later cognitive part, such as the categorization task in the oddball paradigm. Furthermore, as evidenced by the standard deviation wave across the trials, we suggest that the growing standard deviation value might represent the gradual loss of attentional focus to the task after the stimulus onset and that the zero-growth level may represent similar brain activity between trials.

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.

Aesthetic experiences and flourishing in science: A four-country study

In response to the mental health crisis in science, and amid concerns about the detrimental effects of the COVID-19 pandemic on scientists, this study seeks to identify the role of a heretofore under-researched factor for flourishing and eudaimonia: aesthetic experiences in scientific work. The main research question that this study addresses is: To what extent is the frequency of encountering aesthetics in terms of beauty, awe, and wonder in scientific work associated with greater well-being among scientists? Based on a large-scale (N = 3,061) and representative international survey of scientists (biologists and physicists) in four countries (India, Italy, the United Kingdom, and the United States), this study employs sets of nested regressions to model the associations of aesthetic experiences with flourishing while controlling for demographic factors and negative workplace and life circumstances such as burnout, job/publication pressure, mistreatment, COVID-19 impacts, other stressful life events, serious psychological distress, and chronic health conditions. The results show that the frequency of aesthetic experiences in scientific work in the disciplines of biology and physics has a very large and statistically significant association with flourishing and eudaimonia that remains robust even when controlling for demographic factors and negative workplace and life circumstances, including COVID-19 impacts. Aesthetic experiences in scientific work are even as strongly associated with flourishing as the presence of serious psychological distress and are most strongly associated with the flourishing domain of meaning in life, thus pointing to a link with eudaimonic well-being. In line with neurophysiological evidence and positive psychological models of flow, self-transcendence, and intrinsic motivation, aesthetics are a key source of flourishing for scientists in the disciplines of biology and physics. While future research needs to test the causal mechanism, the strength of the findings could encourage leaders of scientific labs and research organizations generally to remove obstacles to experiencing the aesthetic dimensions of science. Fostering cultures in which the aesthetic experiences that are intrinsic to scientific practice are fully appreciated might potentially protect or boost flourishing by reducing the impacts of burnout, job/publication pressure, and mistreatment-related experiences in science.

A generalised semantic cognition account of aesthetic experience

Given that aesthetic experiences typically involve extracting meaning from environment, we believe that semantic cognition research has much to offer the field of neuroaesthetics. In the current paper, we propose a generalised framework that is inspired by the semantic cognition literature and that treats aesthetic experience as just one example of how meaning accumulates. According to our framework, aesthetic experiences are underpinned by the same cognitive and brain systems that are involved in deriving meaning from the environment in general, such as modality-specific conceptual representations and controlled processes for retrieving the appropriate type of information. Our generalised semantic cognition view of aesthetic experience has substantial implications for theory development: it leads to novel, falsifiable predictions and it reconfigures foundational assumptions regarding the structure of the cognitive and brain systems that may be involved in aesthetic experiences.

Understanding Cross-Cultural Differences in Conceptualizing International Trade Patterns: A Neuroeconomic Perspective

Neuroeconomics has been seldom used in investigating the impact of culture on international trade. This research proposes a scientific approach to investigate how cross-cultural differences contribute to the conceptualization of international trade patterns globally. International business relations are directly influenced by factors such as cultural variations which distinguish one foreign market from another. Therefore, the level of understanding these cultural differences is able to determine the success or not of business opportunities. In response to the scarcity of scientific investigation of cultural influence on international trade, the purpose of this study is to propose a neuroeconomic framework as a strategic instrument to elucidate the cross-cultural dimension of international commercial relations. Echoing this, our study uses cultural diversities and cognitive classifications established in literature to adopt a unique scientific tool for the conceptualization of international trade patterns across the world. This research establishes the cognitive mechanism of cross-cultural diversity, as a novel framework to conceptualize international trade patterns. By unveiling the cognitive process of cross-cultural diversity, this article provides an instrument to unlock trade barriers of individualism and collectivism across nations.

Gaze patterns reveal aesthetic distance while viewing art

For centuries, Western philosophers have argued that aesthetic experiences differ from common, everyday pleasing sensations, and further, that mental states, such as disinterested contemplation and aesthetic distance, underlie these complex experiences. We empirically tested whether basic perceptual processes of information intake reveal evidence for aesthetic distance, specifically toward visual art. We conducted two eye tracking experiments using appropriately matched visual stimuli (environmental scenes and representational paintings) with 59 participants using two different presentation durations (25 and 6 s). Linear mixed-effects models considering individual differences showed that affective content (pleasantness and arousal), but not stimulus composition (complexity), leads to differential effects when viewing representational paintings in comparison to environmental scenes. We demonstrate that an increase in aesthetic pleasantness induced by representational paintings during a free-viewing task leads to a slower and deeper processing mode than when viewing environmental scenes of motivational relevance, for which we observed the opposite effect. In addition, long presentation durations led to an increase in scanning behavior during visual art perception. These empirical findings inform the debate about how aesthetic experiences differ from everyday perceptual processes by showing that the notion of aesthetic distance may be better understood by examining different modes of viewing.

Art therapy and social function in palliative care patients: a mixed-method pilot study

OBJECTIVES

To evaluate the influence of art therapy in reducing palliative symptoms, on social availability and on perceptions of aesthetics in hospitalised palliative care patients. The secondary objective was to evaluate its influence on bereaved families.

METHODS

A mixed-method quasi-experimental before and after study comprising a follow-up postal survey of bereaved families. All patients who were keen to have art therapy sessions were eligible. We used patient-reported outcome scales 5 min before and after the session. The Edmonton Symptom Assessment Scale has been used for pain, anxiety, well-being, fatigue and depression. Ten-point visual analogue scales were used for social availability, lack of desire and wishes, and perceptions of aesthetics based on the Beautiful-Well-Good model. A postal survey was sent to bereaved families. Correlations and data mining analyses were performed.

RESULTS

In all, 24 patients were recruited for a total of 53 art therapy sessions analysed. Seven families completed the survey. Art therapy significantly reduced the assessed symptoms and overall symptom distress by 54.4% (p <0.001, d = 1.08). It also decreased the feeling of social unavailability (-59%, d = 0.67) and the lack of desire and wishes (-60%, d=0.86). The analysis of the family questionnaires indicates the positive effects regarding support, artwork and feelings during illness and grief.

CONCLUSION

Our results suggest an overall improvement in the symptoms experienced and social functioning of palliative patients. Based on our findings, we propose a model for the potential mechanism of action of art therapy.

Facial attractiveness is more associated with individual warmth than with competence: behavioral and neural evidence

Individuals appear to infer others' psychological characteristics according to facial attractiveness and these psychological characteristics can be classified into two categories in social cognition, that is, warmth and competence. However, which category of psychological characteristic is more associated with face attractiveness and its neural mechanisms have not been explored. To address this, participants were asked to judge others' warmth and competence traits based on face attractiveness, while their brains were scanned using functional magnetic resonance imaging (fMRI). They also assessed the attractiveness of faces after scanning. Behavioral results showed that the correlation between face attractiveness and warmth ratings was significantly higher than that with competence ratings. fMRI results demonstrated that the dorsomedial prefrontal cortex (dmPFC), temporoparietal junction (TPJ), lateral prefrontal cortex, and lateral temporal lobe were more involved in the warmth task. Moreover, attractiveness ratings were negatively correlated with activation of the dmPFC and TPJ only in the warmth task. Furthermore, the attractiveness ratings were negatively correlated with the defined dmPFC, region related to attractiveness judgement, only in the warmth task. In conclusion, people are more inclined to infer others' warmth than competence characteristics from face attractiveness, that is, face attractiveness is more associated with warmth than with competence.

Understanding the Cognitive Immersion of Hospitality Architecture in Culture and Nature: Cultural Psychology and Neuroscience Views

Hotel architectural design plays a critical role in the hospitality experiences of consumers, and it is important to consider that people may have different aesthetic cognitions toward the sensory properties of nature (i.e., the architecture of the hotel), such as its color and texture, as well as the landscape. While neuroaesthetics has emerged as a nascent field in hospitality research, few studies have investigated how nature reflects aesthetic experiences in the human brain. Moreover, the neuroaesthetic interpretation of architecture through the aesthetic triad is a novel interdisciplinary field. A field survey conducted at Amanfayun, a hotel in Hangzhou, China, in support of our propositions proves that sensory-motor, knowledge-meaning, and emotion valuation systems play key roles in appreciating architectural aesthetics. This study demonstrates that the evaluation of fluency, complexity, and naturalistic patterns of an architectural masterpiece is achieved through the sensory-motor systems. Our results also prove that familiarity, expectations, context, and cultural background directly affect the aesthetic knowledge of an individual and the meaning of architecture. Moreover, the interaction of sensory-motor and knowledge elements is uniformly moderated by the emotion valuation systems, resulting in a balanced appreciation of aesthetic architecture. Finally, the study reveals the central roles of culture and nature in cognitive rejuvenation.

Internationalization of Multinational Companies and Cognitive Differences Across Cultures: A Neuroeconomic Perspective

From a classical perspective, multinational companies (MNCs) operate based on market determinants, but recent economic discussions emphasize the central role of the human cognitive system in the decision-making process, thereby giving birth to interdisciplinary fields such as behavioral economics and neuroeconomics. While neuroeconomics is still considered an emerging field, hitherto scant studies have investigated the reflection of cultural experiences on the nervous system. Moreover, the interpretation of cultural diversity in the decision-making process, especially from a neuroeconomic perspective, has not been explored. In response, this study, aperspective research in nature, endeavors to research the neural responses to cultural diversity by contextualizing the neuroeconomic discussion within an MNC framework as one of the best multicultural settings. This study demonstrates that the internationalization process of MNCs is established on the cultural identity and integration of the executive. Through a neuroscientific lens, our findings prove that culture is a fundamental determinant of the cognitive makeup; therefore, cultural diversity in MNCs influences their decision-making process. Moreover, the performance of MNCs is driven by cultural harmonization at the executive level. Finally, the study reveals that the novel field of neuroeconomics is instrumental in identifying cultural intuitions on brain cells and the implications on economic decisions even at a corporate level. The main contribution of this study is the initiation of a multidisciplinary merge of the sociocultural and economic as well as neuroscientific fields, as a research center for MNCs’ decision-making processes.

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.

Neural responses to facial attractiveness in the judgments of moral goodness and moral beauty

The judgments of moral goodness and moral beauty objectively refer to the perception and evaluation of moral traits, which are generally influenced by facial attractiveness. For centuries, people have equated beauty with the possession of positive qualities, but it is not clear whether the association between beauty and positive qualities exerts a similarly implicit influence on people's responses to moral goodness and moral beauty, how it affects those responses, and what is the neural basis for such an effect. The present study is the first to examine the neural responses to facial attractiveness in the judgments of moral goodness and moral beauty. We found that beautiful faces in both moral judgments activated the left ventral occipitotemporal cortices sensitive to the geometric configuration of the faces, demonstrating that both moral goodness and moral beauty required the automatic visual analysis of geometrical configuration of attractive faces. In addition, compared to beautiful faces during moral goodness judgment, beautiful faces during moral beauty judgment induced unique activity in the ventral medial prefrontal cortex and midline cortical structures involved in the emotional-valenced information about attractive faces. The opposite comparison elicited specific activity in the left superior temporal cortex and premotor area, which play a critical role in the recognition of facial identity. Our results demonstrated that the neural responses to facial attractiveness in the process of higher order moral decision-makings exhibit both task-general and task-specific characteristics. Our findings contribute to the understanding of the essence of the relationship between morality and aesthetics.

Functional specificity and neural integration in the aesthetic appreciation of artworks with implied motion

Although there is growing interest in the neural foundations of aesthetic experience, it remains unclear how particular mental subsystems (e.g. perceptual, affective and cognitive) are involved in different types of aesthetic judgements. Here, we use fMRI to investigate the involvement of different neural networks during aesthetic judgements of visual artworks with implied motion cues. First, a behavioural experiment (N = 45) confirmed a preference for paintings with implied motion over static cues. Subsequently, in a preregistered fMRI experiment (N = 27), participants made aesthetic and motion judgements towards paintings representing human bodies in dynamic and static postures. Using functional region-of-interest and Bayesian multilevel modelling approaches, we provide no compelling evidence for unique sensitivity within or between neural systems associated with body perception, motion and affective processing during the aesthetic evaluation of paintings with implied motion. However, we show suggestive evidence that motion and body-selective systems may integrate signals via functional connections with a separate neural network in dorsal parietal cortex, which may act as a relay or integration site. Our findings clarify the roles of basic visual and affective brain circuitry in evaluating a central aesthetic feature-implied motion-while also pointing towards promising future research directions, which involve modelling aesthetic preferences as hierarchical interplay between visual and affective circuits and integration processes in frontoparietal cortex.

The role of expertise in the aesthetic evaluation of mathematical equations

There is a notion that mathematical equations can be considered aesthetic objects. However, whereas some aesthetic experiences are triggered primarily by the sensory properties of objects, for mathematical equations aesthetic judgments extend beyond their sensory qualities and are also informed by semantics and knowledge. Therefore, to the extent that expertise in mathematics represents the accumulation of domain knowledge, it should influence aesthetic judgments of equations. In a between-groups study design involving university students who majored in mathematics (i.e., experts) or not (i.e., laypeople), we found support for the hypothesis that mathematics majors exhibit more agreement in their aesthetic judgments of equations—reflecting a greater degree of shared variance driven by formal training in the domain. Furthermore, their judgments were driven more strongly by familiarity and meaning than was the case for laypeople. These results suggest that expertise via advanced training in mathematics alters (and sharpens) aesthetic judgments of mathematical equations.

Differences in regional gray matter volume predict the extent to which openness influences judgments of beauty and pleasantness of interior architectural spaces

Hedonic evaluation of sensory objects varies from person to person. While this variability has been linked to differences in experience, little is known about why stimuli lead to different evaluations in different people. We used linear mixed-effects models to determine the extent to which the openness, contour, and ceiling height of interior spaces influenced the beauty and pleasantness ratings of 18 participants. Then, by analyzing structural brain images acquired for the same group of participants, we asked if any regional gray matter volume (rGMV) covaried with these differences in the extent to which the three features influence beauty and pleasantness ratings. Voxel-based morphometry analysis revealed that the influence of openness on pleasantness ratings correlated with rGMV in the anterior prefrontal cortex (Brodmann area (BA)-10), and the influence of openness on beauty ratings correlated with rGMV in the temporal pole (BA38) and cluster, including the posterior cingulate cortex (BA31) and paracentral lobule (BA5/6). There were no significant correlations involving contour or ceiling height. Our results suggest that regional variance in gray matter volume may play a role in the computation of hedonic valuation and account for differences in the way people weigh certain attributes of interior architectural spaces.

The neuroaesthetics of architectural spaces

People in developed countries spend over 90% of their time in built environments. Yet, we know little about its pervasive and often hidden effects on our mental state and our brain. Despite growing interest in the neuroscience of architecture, much of this scholarship has been descriptive. The typical approach is to map knowledge of the brain onto constructs important to architecture. For a programmatic line of research, how might descriptive neuroarchitecture be transformed into an experimental science? We review the literature outlining how one might consider experimental architecture first by examining the role of natural features in architectural settings. We then turn to the human experience of occupants, and hypothesized that aesthetic responses to architectural interiors reduce to key psychological dimensions. Conducting Psychometric Network Analysis (PNA) and Principal Components Analysis (PCA) on responses to curated images, we identified three components: coherence (ease of organizing and comprehending a scene), fascination (informational richness and generated interest), and hominess (personal ease and comfort). Coherence and fascination are well-established dimensions for natural scenes. Hominess was a new dimension related to architectural interiors. Central to all three communities in the PNA was emotional valence. We also reanalyzed data from an earlier fMRI study in which participants made beauty and approach-avoidance decisions while viewing the same images. Regardless of task, the degree of fascination covaried with neural activity in the right lingual gyrus. In contrast, coherence covaried with neural activity in the left inferior occipital gyrus only when participants judged beauty, and hominess covaried with neural activity in the left cuneus only when they made approach-avoidance decisions. The visual brain harbours hidden sensitivities to architectural interiors that are captured by the dimensions of coherence, fascination, and hominess. These findings represent first steps towards an experimental neuroarchitecture.

Programmed topographical features generated on command in confined electroactive films

This work describes a method to create dynamic pre-programmed surface textures by an alternating electric field on coatings that consist of a silicon oxide reinforced viscoelastic siloxane network. The finite element method is developed to predict the complex deformation figures and time-resolved experimental topographical surface analysis is used to confirm them.

Beauty and Wellness in the Semantic Memory of the Beholder

Beauty and wellness are terms used often in common parlance, however their meaning and relation to each other is unclear. To probe their meaning, we applied network science methods to estimate and compare the semantic networks associated with beauty and wellness in different age generation cohorts (Generation Z, Millennials, Generation X, and Baby Boomers) and in women and men. These mappings were achieved by estimating group-based semantic networks from free association responses to a list of 47 words, either related to Beauty, Wellness, or Beauty + Wellness. Beauty was consistently related to Elegance, Feminine, Gorgeous, Lovely, Sexy, and Stylish. Wellness was consistently related Aerobics, Fitness, Health, Holistic, Lifestyle, Medical, Nutrition, and Thrive. In addition, older cohorts had semantic networks that were less connected and more segregated from each other. Finally, we found that women compared to men had more segregated and organized concepts of Beauty and Wellness. In contemporary societies that are pre-occupied by the pursuit of beauty and a healthy lifestyle, our findings shed novel light on how people think about beauty and wellness and how they are related across different age generations and by sex.

The effect of action observation on aesthetic preference of Chinese calligraphy: An fMRI study

INTRODUCTION

There is some evidence suggesting that movement perception has an effect on aesthetic experience. However, the neural mechanisms underlying the observation of creators' creative action (the process that calligraphers create calligraphy) remain unclear.

METHODS

In this study, participants were scanned with fMRI while performing aesthetic judgments on Chinese calligraphy images with/without action observation.

RESULTS

Behavioral results showed that both the work by the expert and novice with action observation were rated significantly higher on aesthetic preference than those without action observation. Imaging results showed that brain regions associated with perceptual, cognitive, and emotional processing were commonly activated by calligraphy images with/without action observation. However, compared with no action observation, aesthetic judgments of calligraphy images with action observation elicited stronger activation in the anterior cingulate cortex and the bilateral insula. Meanwhile, the superior parietal lobe which is associated with relevant inner action imitation, was also activated when observing the creator's action.

CONCLUSIONS

Brain activation in the superior parietal lobe, anterior cingulate cortex, and the bilateral insula indicated that observing the creative action of the creators contributed to the aesthetic experience of the observer.

From Visual Perception to Aesthetic Appeal: Brain Responses to Aesthetically Appealing Natural Landscape Movies

During aesthetically appealing visual experiences, visual content provides a basis for computation of affectively tinged representations of aesthetic value. How this happens in the brain is largely unexplored. Using engaging video clips of natural landscapes, we tested whether cortical regions that respond to perceptual aspects of an environment (e.g., spatial layout, object content and motion) were directly modulated by rated aesthetic appeal. Twenty-four participants watched a series of videos of natural landscapes while being scanned using functional magnetic resonance imaging (fMRI) and reported both continuous ratings of enjoyment (during the videos) and overall aesthetic judgments (after each video). Although landscape videos engaged a greater expanse of high-level visual cortex compared to that observed for images of landscapes, independently localized category-selective visual regions (e.g., scene-selective parahippocampal place area and motion-selective hMT+) were not significantly modulated by aesthetic appeal. Rather, a whole-brain analysis revealed modulations by aesthetic appeal in ventral (collateral sulcus) and lateral (middle occipital sulcus, posterior middle temporal gyrus) clusters that were adjacent to scene and motion selective regions. These findings suggest that aesthetic appeal per se is not represented in well-characterized feature- and category-selective regions of visual cortex. Rather, we propose that the observed activations reflect a local transformation from a feature-based visual representation to a representation of "elemental affect," computed through information-processing mechanisms that detect deviations from an observer's expectations. Furthermore, we found modulation by aesthetic appeal in subcortical reward structures but not in regions of the default-mode network (DMN) nor orbitofrontal cortex, and only weak evidence for associated changes in functional connectivity. In contrast to other visual aesthetic domains, aesthetically appealing interactions with natural landscapes may rely more heavily on comparisons between ongoing stimulation and well-formed representations of the natural world, and less on top-down processes for resolving ambiguities or assessing self-relevance.

Observational drawing in the brain: A longitudinal exploratory fMRI study

Observational drawing involves acquiring a number of basic drawing techniques and concepts. There is limited knowledge on how observational drawing skills are represented by brain responses. Here, we investigate the behavioral and functional changes behind students learning to draw in a longitudinal study on 45 participants by testing art students (n = 26) at the beginning and end of a 16-week observational drawing course compared to a matched group of non-art students (n = 19). Four novel tasks were used that involve making decisions about light sources, tonal value, line variation and linear perspective using task-based 7 T-functional Magnetic Resonance Imaging (fMRI). While exploratory in nature, we expected to find improvement on each task over time and functional changes in the prefrontal cortex and cerebellum for the art students. Art students' performance significantly improved on the light sources, line variation, and linear perspective tasks and functional changes were found for the line variation, linear perspective, and tonal value tasks. Using whole brain analyses diffuse functional changes were discovered including prefrontal cortex areas and cerebellum. Brain areas involved in cognitive processing, including attention, decision making, motor control, top-down control, visual information processing, and working memory all functionally changed with experience. These findings demonstrate some of the first functional changes in the brain due to training in the arts and have implications for pedagogy and mental health.

The Primacy of Beauty in Music, Visual Arts and Literature: Not Just a Replication Study in the Greek Language Exploring the Effects of Verbal Fluency, Age and Gender

Research on aesthetic descriptors of art in different languages is scarce. The aim of the present study was to elucidate the conceptual structure of aesthetic experiences of three forms of art (music, visual arts and literature) in the Greek language, which has not been explored so far. It was further aimed to study if biological and cognitive factors such as age and gender might produce differences in art appreciation. A total of 467 younger and older individuals from Greece were asked to generate verbal descriptors (adjectives) in free word-listing conditions in order to collect terms reflecting the aesthetics-related semantic field of art. The capacity of verbal memory was controlled by using a battery of neuropsychological tests. Analysis of generated adjectives’ frequency and salience revealed that ‘beautiful’ was the most prominent descriptor that was selected with a distinctive primacy for all three forms of arts. The primacy of ‘beautiful’ was significantly more pronounced for visual arts relative to music and literature. Although the aging-related decline of verbal capacity was similar for males and females, the primacy of ‘beautiful’ depended on age and gender by being more emphasized for young females than males, and for old males than females. Analysis of secondary descriptors and pairs of adjectives revealed that affective and hedonic experiences are essentially fixed in the semantic field of art reflection. It is concluded that although the concept of the aesthetics seems to be diversified and rich, a clear primacy of beauty is found for the Greek cultural environment and across different forms of art. The results also highlight the presence of complex influences of biological and cognitive factors on aesthetic art experiences.

Using mobile brain/body imaging to advance research in arts, health, and related therapeutics

The uses of mobile brain/body imaging (MoBI) are expanding and allow for more direct study of the neurophysiological signals associated with behavior in psychotherapeutic encounters. Neuroaesthetics is concerned with the cognitive and neural basis of art appreciation, and scientific correlations are being made in the field that might help to clarify theories claimed in the creative arts therapies. Yet, most neuroaesthetics studies are confined to the laboratory and do not propose a translation for research methods and clinical applications. The creative arts therapies have a long history of clinical success with various patient populations and will benefit from increased scientific explanation to support intervention strategies. Examining the brain dynamics and motor behaviors that are associated with the higher complex processes involved in artistic expression offers MoBI as a promising instrumentation to move forward in linking ideas from neuroaesthetics to the creative arts therapies. Tracking brain dynamics in association with behavioral change allows for more objective and quantitative physiological monitors to evaluate, and together with subjective patient reports provides insight into the psychological mechanisms of change in treatment. We outline a framework that shows how MoBI can be used to study the effectiveness of creative arts therapy interventions motivated by the 4E approach to cognition with a focus on visual art therapy. The article illuminates how a new partnership among the fields of art therapy, neuroscience, and neuroaesthetics might work together within the 4E/MoBI framework in efforts to advance transdisciplinary research for clinical health populations.

Visceromotor Roots of Aesthetic Evaluation of Pain in art: an fMRI Study

Empathy for pain involves sensory and visceromotor brain regions relevant also in the first-person pain experience. Focusing on brain activations associated with vicarious experiences of pain triggered by artistic or non-artistic images, the present study aims to investigate common and distinct brain activation patterns associated with these two vicarious experiences of pain and to assess whether empathy for pain brain regions contributes to the formation of an aesthetic judgement (AJ) in non-art expert observers. Artistic and non-artistic facial expressions (painful and neutral) were shown to participants inside the scanner and then aesthetically rated in a subsequent behavioural session. Results showed that empathy for pain brain regions (i.e. bilateral insular cortex, posterior sector of the anterior cingulate cortex and the anterior portion of the middle cingulate cortex) and bilateral inferior frontal gyrus are commonly activated by artistic and non-artistic painful facial expressions. For the artistic representation of pain, the activity recorded in these regions directly correlated with participants’ AJ. Results also showed the distinct activation of a large cluster located in the posterior cingulate cortex/precuneus for non-artistic stimuli. This study suggests that non-beauty-specific mechanisms such as empathy for pain are crucial components of the aesthetic experience of artworks.

Naturalness and aesthetics of colors - Preference for color compositions perceived as natural

What makes a colored image, e.g. an abstract painting or a landscape, look pleasing? We hypothesized that a preference for complex color compositions, such as paintings and images of natural scenes, might be related to how natural the colors are perceived. We tested this possibility with two experiments in which the degree of naturalness of images was manipulated by rotating their color gamut rigidly in the color space CIELAB. This changed just the hue composition, but preserved saturation and lightness. In the first experiment we obtained individual scaling curves for perceived naturalness and for preference as a function of the angle of gamut rotation for a small set of images. The naturalness and preference scaling curves were found to be largely similar and their maxima were close to the original image. In the second experiment, we tested whether this effect generalized to a larger set of images. We used a simultaneous 5AFC procedure where in each trial participants had to select the most natural or the most preferred image from five different rotations of the color gamut. The results confirmed the first experiment and showed that, in general, the images perceived as the more natural tend to be the ones that are preferred. Together these results show that perceived naturalness and preference are indeed perceptually closely related and may be driven by related mechanisms.

Memorisation and implicit perceptual learning are enhanced for preferred musical intervals and chords

Is it true that we learn better what we like? Current neuroaesthetic and neurocomputational models of aesthetic appreciation postulate the existence of a correlation between aesthetic appreciation and learning. However, even though aesthetic appreciation has been associated with attentional enhancements, systematic evidence demonstrating its influence on learning processes is still lacking. Here, in two experiments, we investigated the relationship between aesthetic preferences for consonance versus dissonance and the memorisation of musical intervals and chords. In Experiment 1, 60 participants were first asked to memorise and evaluate arpeggiated triad chords (memorisation phase), then, following a distraction task, chords’ memorisation accuracy was measured (recognition phase). Memorisation resulted to be significantly enhanced for subjectively preferred as compared with non-preferred chords. To explore the possible neural mechanisms underlying these results, we performed an EEG study, directed to investigate implicit perceptual learning dynamics (Experiment 2). Through an auditory mismatch detection paradigm, electrophysiological responses to standard/deviant intervals were recorded, while participants were asked to evaluate the beauty of the intervals. We found a significant trial-by-trial correlation between subjective aesthetic judgements and single trial amplitude fluctuations of the ERP attention-related N1 component. Moreover, implicit perceptual learning, expressed by larger mismatch detection responses, was enhanced for more appreciated intervals. Altogether, our results showed the existence of a relationship between aesthetic appreciation and implicit learning dynamics as well as higher-order learning processes, such as memorisation. This finding might suggest possible future applications in different research domains such as teaching and rehabilitation of memory and attentional deficits.

Why and How Should Cognitive Science Care about Aesthetics?

Empirical aesthetics has found its way into mainstream cognitive science. Until now, most research has focused either on identifying the internal processes that underlie a perceiver's aesthetic experience or on identifying the stimulus features that lead to a specific type of aesthetic experience. To progress, empirical aesthetics must integrate these approaches into a unified paradigm that encourages researchers to think in terms of temporal dynamics and interactions between: (i) the stimulus and the perceiver; (ii) different systems within the perceiver; and (iii) different layers of the stimulus. At this critical moment, empirical aesthetics must also clearly identify and define its key concepts, sketch out its agenda, and specify its approach to grow into a coherent and distinct discipline.

Visual adaptation to natural scene statistics and visual preference

The amplitude of Fourier spectra for natural scenes falls with spatial frequency (f) and is described by the equation, 1/f^α, where exponent α corresponds to the slope of the spectral drop-off. For natural scenes α takes on intermediate values ~1.25, reflecting their scale invariance. It is also well-established that, on average, images with natural scene statistics are preferred to those that deviate from these properties. Although this average pattern of preference for images with the intermediate values of α is robust, there are also marked individual differences in preference for different levels of α. This study investigated the effects of adaptation on average and individual visual preferences for synthetic filtered noise images varying in α. Participant preferences (N = 58) were measured via a 2AFC task prior to adaptation (baseline) and post-adaptation There were 3 adaptation conditions (α = 0.25, 1.25, 2.25) and 5 test levels of α (0.25, 0.75, 1.25, 1.75, 2.25). On average, the adaptation elevated preferences for test images with α matching the adaptor conditions, especially in adaptor conditions, α = 0.25 and 2.25. We also observed marked individual differences in preference for different levels of α. These different preference profiles remained stable throughout the experiment and affected the levels of adaptation observed in different adaptation conditions.

art.pics Database: An Open Access Database for Art Stimuli for Experimental Research

While art is omnipresent in human history, the neural mechanisms of how we perceive, value and differentiate art has only begun to be explored. Functional magnetic resonance imaging (fMRI) studies suggested that art acts as secondary reward, involving brain activity in the ventral striatum and prefrontal cortices similar to primary rewards such as food. However, potential similarities or unique characteristics of art-related neuroscience (or neuroesthetics) remain elusive, also because of a lack of adequate experimental tools: the available collections of art stimuli often lack standard image definitions and normative ratings. Therefore, we here provide a large set of well-characterized, novel art images for use as visual stimuli in psychological and neuroimaging research. The stimuli were created using a deep learning algorithm that applied different styles of popular paintings (based on artists such as Klimt or Hundertwasser) on ordinary animal, plant and object images which were drawn from established visual stimuli databases. The novel stimuli represent mundane items with artistic properties with proposed reduced dimensionality and complexity compared to paintings. In total, 2,332 novel stimuli are available open access as “art.pics” database at https://osf.io/BTWNQ/ with standard image characteristics that are comparable to other common visual stimuli material in terms of size, variable color distribution, complexity, intensity and valence, measured by image software analysis and by ratings derived from a human experimental validation study [n = 1,296 (684f), age 30.2 ± 8.8 y.o.]. The experimental validation study further showed that the art.pics elicit a broad and significantly different variation in subjective value ratings (i.e., liking and wanting) as well as in recognizability, arousal and valence across different art styles and categories. Researchers are encouraged to study the perception, processing and valuation of art images based on the art.pics database which also enables real reward remuneration of the rated stimuli (as art prints) and a direct comparison to other rewards from e.g., food or money.

Key Messages: We provide an open access, validated and large set of novel stimuli (n = 2,332) of standardized art images including normative rating data to be used for experimental research. Reward remuneration in experimental settings can be easily implemented for the art.pics by e.g., handing out the stimuli to the participants (as print on premium paper or in a digital format), as done in the presented validation task. Experimental validation showed that the art.pics’ images elicit a broad and significantly different variation in subjective value ratings (i.e., liking, wanting) across different art styles and categories, while size, color and complexity characteristics remained comparable to other visual stimuli databases.