Art Expertise and the Processing of Titled Abstract Art

Effectiveness of labels in digital art experience: psychophysiological and behavioral evidence

Introduction

Nowadays museums make large use of digital materials (e.g., virtual tours) to attract visitors. Therefore, it is worthwhile investigating which variables affect the engagement with art outside the museum, and whether digital reproductions of artworks are as effective as museum originals in producing a satisfying aesthetic experience.

Methods

Here we tested the effectiveness of introducing additional informative materials on the artistic enjoyment of contemporary paintings presented on a computer screen. Naïve observers were exposed to essential and descriptive labels before viewing artworks. We flanked traditional measurement methods - viewing times and questionnaires, with biometric parameters - pupil responses, eye movements, heart rate, and electrodermal activity. The results were then compared to our previous museum study that adopted the same experimental paradigm.

Results

Our behavioral and psychophysiological data lead to a complex pattern of results. As found in the museum setting, providing detailed descriptions decreases complexity, evokes more positive sensations, and induces pupil dilation but does not enhance aesthetic appreciation. These results suggested that informative labels improve understanding and emotions but have a limited impact on the hedonic evaluation of artworks in both contexts. However, other results do not mirror those found in the museum; in the laboratory setting, participants spend a similar amount of time, have a comparable gaze behavior, and their electrodermal activity and heart rate do not change when viewing artworks with different types of labels. The main difference between the lab and museum settings is the shorter time spent viewing digital reproductions vs. real paintings, although subjective ratings (e.g., liking, interest) are comparable.

Discussion

Overall, this study indicates that the environmental context does impact the aesthetic experience; although, some beneficial effects of introducing additional relevant content in labels accompanying artworks can also be acquainted through digital media outside of the museum.

Examining the gray cube effect on naïve viewers' appreciation of street-based art in Hong Kong and Poland

The present research investigates the appreciation of sanctioned street-based art among naïve viewers. It examines the role of viewing context in art appreciation, by experimentally testing a gray cube effect, which posits that street-based artworks are more likely to be identified as art (H1), liked more (H2), and understood more (H3) when viewed on the street. Identical procedures were carried out in Hong Kong (Experiment 1) and Lublin, Poland (Experiment 2), separately, sampling local artworks and local viewers. Experiment 1 tested 14 murals with 100 Hong Kongers; Experiment 2 tested 7 sculptures and 7 murals with 88 Poles. Participants were randomly assigned to either viewing street-based artworks on the street (gray cube) or viewing digital images of street-based artworks in a laboratory. The participants assessed each artwork in terms of art identification, liking, and understanding. These "twin" experiments yielded identical results, i.e., street-based artworks were liked more (H2) and understood more (H3) but not more likely to be identified as art (H1) on the street than in the laboratory. Overall, the present findings support the gray cube effect with ecologically valid data, and the effect seems robust across Western and Eastern cultural contexts and across genres of sculpture and mural.

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.

The impact of contextual information on aesthetic engagement of artworks

Art is embedded in its historical, social, political, and cultural context, and rarely evaluated in isolation. The semantic context created by providing text-based information about an artwork influences how an artwork will be evaluated. In the current study, we investigated how contextual information influences the aesthetic appreciation of artworks. Experiment 1 explored whether contextual information such as artist or technique information influenced aesthetic judgments of abstract artworks by Jackson Pollock. The combination of artist and technique information increased liking and interest for the artworks. Experiment 2 investigated whether contextual information about the artist, technique, or content of representational artworks by Indian and European/American artists influenced aesthetic responses of Northern American participants. We found that artist, content, and technique information compared to no information influenced the aesthetic experience of representational artworks. For both experiments, the effect of contextual information was stronger in participants with little art experience, and those more open to experience, and for artworks from another culture compared to one's own. In sum, along-with theories of empirical and neuro-aesthetics, the current findings also have implications for aesthetics education and museum curation. It seems crucial to consider the type of artwork, the type of contextual information, its potential to enhance aesthetic experience, and the curatorial background of the museum or exhibition, as well as individual differences of viewers. Artworks that are unfamiliar to its viewers might require more contextual information to have an impact on the viewers, and may lower viewers' prejudices against artworks/artists originating from an out-group.

Updating the Aesthetic Fluency Scale: Revised long and short forms for research in the psychology of the arts

People's knowledge about the arts shapes how they experience and engage with art. Since its introduction, the 10-item Aesthetic Fluency Scale has been widely used to measure self-reported art knowledge. Drawing from findings and researchers' experience since then, the present work develops and evaluates a Revised Aesthetic Fluency Scale using item response theory to broaden its scope (36 items) and refine its response scale. In a large sample (n = 2,089 English-speaking adults), Study 1 found strong evidence for unidimensionality, good item fit, and a difficulty level suitable for its targeted population; Study 2 (n = 392) provided initial evidence for score validity via relationships with art engagement, Openness to Experience, and aesthetic responsiveness; and Study 3 derived a brief, 10-item form for time-constrained projects. Taken together, the revised scales build upon lessons learned from the original and appear promising for the next generation of research.

Psychophysiological and behavioral responses to descriptive labels in modern art museums

Educational tools in art exhibitions seem crucial to improve the cultural and aesthetic experience, particularly of non-expert visitors, thus becoming a strategic goal for museums. However, there has not been much research regarding the impact of labels on the quality of visitors' aesthetic experience. Therefore, here we compared the impact on the cognitive and emotional experience of naïve visitors between essential and descriptive labels, through multiple objective and subjective measurements, focusing on the controversial modern art museum context. We found that, after detailed descriptions, observers spend more time inspecting artworks, their eyes wander more looking for the described elements, their skin conductance and pupil size increase, and overall, they find the content less complex and more arousing. Our findings show that people do receive important benefits from reading detailed information about artworks. This suggests that elaborating effective labels should be a primary goal for museums interested in attracting a non-expert public.

Who made the paintings: Artists or artificial intelligence? The effects of identity on liking and purchase intention

Investigating how people respond to and view AI-created artworks is becoming increasingly crucial as the technology's current application spreads due to its affordability and accessibility. This study examined how AI art alters people's evaluation, purchase intention, and collection intention toward Chinese-style and Western-style paintings, and whether art expertise plays a role. Study 1 recruited participants without professional art experience (non-experts) and found that those who made the paintings would not change their liking rating, purchase intention, and collection intention. In addition, they showed ingroup preference, favoring Chinese-style relative to Western-style paintings, in line with previous evidence on cultural preference in empirical aesthetics. Study 2 further investigated the modulation effect of art expertise. Art experts evaluated less favorably (less liking, lower purchase, and collection intentions) AI-generated paintings relative to artist-made paintings, while non-experts showed no preference. There was also an interaction effect between the author and the art expertise and interaction between the painting style and the art expertise. Collectively, the findings in this study showed that who made the art matters for experts and that the painting style affects aesthetic evaluation and ultimate reception of it. These results would also provide implications for AI-art practitioners.

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.

Familiarity and Novelty in Aesthetic Preference: The Effects of the Properties of the Artwork and the Beholder

Familiarity and novelty are fundamental yet competing factors influencing aesthetic preference. However, whether people prefer familiar paintings or novel paintings has not been clear. Using both behavioral and eye-tracking measures, the present study aimed to investigate whether the effect of familiarity-novelty on aesthetic preference is independent or dependent on artwork properties (painting content, visual complexity) and viewer characteristics (experience in art). Participants were presented with two images of paintings, one of which was repeatedly presented but was always paired with a new painting in a randomized lateral arrangement. They were asked to indicate which of the two images they preferred with the degree of their preference. Behavioral results demonstrated an interactive influence of painting content and complexity on familiarity-novelty preference, especially alongside the distinction between representational and abstract paintings. Also, the familiarity-novelty preference was modulated by the degree of art experience, for abstract paintings in particular. Gaze results showed the differential effects of painting content, complexity, and art experience echoing the behavioral results. Taken together, the convergent results derived from behavioral and eye-tracking measures imply that novelty is an important feature of aesthetic appreciation, but its influence is modulated by properties of both the artwork and the beholder.

Aesthetic Experience of Representational Art: Liking Is Affected by Audio-Information Naming and Explaining Inaccuracies of Historical Paintings

Paintings in museums are often accompanied by additional information, such as titles or audio-texts. Previous research has reported mostly positive effects of additional information on the liking and subjective understanding of a painting. However, some studies have also reported negative effects when additional information introduces inconsistencies between the painting's content and the represented reality. Therefore, the present study examined the negative effects of naming a painting's historical inaccuracies, which are inconsistencies between the content of the painting and the real historic event, and whether these negative effects can be compensated by an explanation for the inaccuracies. The results revealed that liking was lower with inaccuracies named and that this effect was compensated by an explanation for the inaccuracies. No significant effects were observed for subjective understanding and aesthetic emotions. The results corroborate parts of the Vienna integrated model of art perception and have practical implications for the design of audio-texts in museums.

Field study of audience experience in contemporary circus: An exploratory study on the impact of audience's expertise

This study took place during a contemporary circus festival to investigate the audience experience of contemporary circus street performances. Specifically, we explored the impact of expertise on audience experience (emotion, intellect, novelty, place, interaction, and technique) and performance evaluation (liking and self-perceived understanding). Based on the participants' self-report frequency of previous attendance of contemporary circus and current skill level in contemporary circus, we divided a sample of 349 adult audience members into three groups: low expertise, medium expertise, and high expertise. Expertise had a significant effect on audience experience; the high-expertise participants were more intellectually stimulated than both the medium- and low-expertise participants. Expertise had negligible effect on performance evaluation, but we note that performance reception could have been based on different interpretation styles; that is, more literal in participants lower in expertise and more metaphoric in participants higher in expertise. Finally, we found a clear positive association between audience experience and performance evaluation.

NeuroDante: Poetry Mentally Engages More Experts but Moves More Non-Experts, and for Both the Cerebral Approach Tendency Goes Hand in Hand with the Cerebral Effort

Neuroaesthetics, the science studying the biological underpinnings of aesthetic experience, recently extended its area of investigation to literary art; this was the humus where neurocognitive poetics blossomed. Divina Commedia represents one of the most important, famous and studied poems worldwide. Poetry stimuli are characterized by elements (meter and rhyme) promoting the processing fluency, a core aspect of neuroaesthetics theories. In addition, given the evidence of different neurophysiological reactions between experts and non-experts in response to artistic stimuli, the aim of the present study was to investigate, in poetry, a different neurophysiological cognitive and emotional reaction between Literature (L) and Non-Literature (NL) students. A further aim was to investigate whether neurophysiological underpinnings would support explanation of behavioral data. Investigation methods employed: self-report assessments (recognition, appreciation, content recall) and neurophysiological indexes (approach/withdrawal (AW), cerebral effort (CE) and galvanic skin response (GSR)). The main behavioral results, according to fluency theories in aesthetics, suggested in the NL but not in the L group that the appreciation/liking went hand by hand with the self-declared recognition and with the content recall. The main neurophysiological results were: (i) higher galvanic skin response in NL, whilst higher CE values in L; (ii) a positive correlation between AW and CE indexes in both groups. The present results extended previous evidence relative to figurative art also to auditory poetry stimuli, suggesting an emotional attenuation “expertise-specific” showed by experts, but increased cognitive processing in response to the stimuli.

Perceived cognitive challenge predicts eye movements while viewing contemporary paintings

Contemporary art is often challenging for the viewer, especially when it violates classic rules of representation. Also, viewers usually have little knowledge about this type of art, making its reception even more difficult. Our main research question was how the cognitive challenge associated with contemporary art affects eye movement. In particular, we aimed to assess the impact on eye movements of (a) object-related cognitive challenge in terms of image properties (syntactic and semantic violations) and (b) subject-related cognitive challenge (composite subjective estimate of image inconsistency, ambiguity, and complexity). The eye movements of expert and naive participants were recorded while they freely viewed digital copies of contemporary paintings (four groups of five paintings each, differing in presence of semantic and syntactic violations). We found that neither violations nor art expertise alone predicted eye movements, although perceived, subjectively experienced cognitive challenge did. In particular, subject-related cognitive challenge was associated with an increase in visual exploration (longer and more numerous fixations, bigger area of exploration, longer viewing time). The roles of object-related and subject-related indicators of cognitive challenge in perception of contemporary art are discussed.

Esports: The Chess of the 21st Century

For many decades, researchers have explored the true potential of human achievement. The expertise field has come a long way since the early works of de Groot (1965) and Chase and Simon (1973). Since then, this inquiry has expanded into the areas of music, science, technology, sport, academia, and art. Despite the vast amount of research to date, the capability of study methodologies to truly capture the nature of expertise remains questionable. Some considerations include (i) the individual bias in the retrospective recall of developmental activities, (ii) the ability to develop ecologically valid tasks, and (iii) difficulties capturing the influence of confounding factors on expertise. This article proposes that expertise research in electronic sports (esports) presents an opportunity to overcome some of these considerations. Esports involves individuals or teams of players that compete in video game competitions via human-computer interaction. Advantages of applying the expert performance approach in esports include (i) developmental activities are objectively tracked and automatically logged online, (ii) the constraints of representative tasks correspond with the real-world environment of esports performance, and (iii) expertise has emerged without the influence of guided systematic training environments. Therefore, this article argues that esports research provides an ideal opportunity to further advance research on the development and assessment of human expertise.

Art expertise in construing meaning of representational and abstract artworks

Aesthetic appraisal of artwork can present the observer with visual problems to solve in the process of grasping its meaning and 'visual rightness' (i.e. "good" structure; Locher, 2003), with an elaboration on perceptual, semantic and affective dimensions (e.g. Marković, 2011). Thus observer's expertise is a factor in aesthetic appraisal. To examine the influence of art training on the aesthetic response, and to clarify the nature of the Representational/Abstract distinction, 30 Experts and 33 Non-experts (Art and Psychology students, respectively) were asked to rate 24 paintings on six affective and affective-evaluative semantic differential scales. Stimuli were images of paintings from the period 1900-1935, 12 broadly Representational and 12 broadly Abstract. Relative to Non-experts, Experts rated Abstract artworks as more Interesting, Beautiful, Informative and Sophisticated, distinguishing them less markedly from Representational artworks. Aggregate Expert and Non-expert ratings, processed by factor analysis, resulted in a two-factor solution. The first factor, contrasting Abstract and Representational artworks, appeared more salient for Non-experts. The second factor, Cool-Warm, separating vibrantly-colored paintings from those with a blue-dominated/dull palette, was more salient for Experts. While Non-experts exaggerated differences between Abstract and Representational paintings, Experts appraised these two types of art similarly, attending more to artwork collative properties. We conclude that appreciation of art by Experts involves 'cognitive mastery' (Leder, Belke, Oeberst, & Augustin, 2004), i.e. more complex, cues-based visual schemata which equip them with more sophisticated strategies for analysing collative properties and semantics of an artwork while parsing 'visual rightness' to unfold its visual meaning.