Image ambiguity and fluency

Visual inspection problem-solving strategies at different experience levels

Airport security screening is a visual inspection task comprising search and decision. Problem solving is used to support decision making. However, it is not well understood. This study investigated how airport security screeners employ problem solving during x-ray screening, and how strategies change with experience. Thirty-nine professional security screeners were observed performing x-ray screening in the field at an Australian International Airport. Video and eye-tracking data were collected and analysed to explore activity phases and problem-solving strategies. Less-experienced screeners performed more problem solving and preferred problem-solving strategies that rely on visual examination without decision support or that defer decision making, compared to more-experienced screeners, who performed efficient and independent strategies. Findings also show that screeners need more time to develop problem-solving skills than visual scanning skills. Screeners would benefit from problem-solving support tools and intensified training and mentorship within the first six months of experience to advance problem-solving competencies.

Stimulus Complexity Can Enhance Art Appreciation: Phenomenological and Psychophysiological Evidence for the Pleasure-Interest Model of Aesthetic Liking

We tested predictions deriving from the "Pleasure-Interest Model of Aesthetic Liking" (PIA Model), whereby aesthetic preferences arise from two fluency-based processes: an initial automatic, percept-driven default process and a subsequent perceiver-driven reflective process. One key trigger for reflective processing is stimulus complexity. Moreover, if meaning can be derived from such complexity, then this can engender increased interest and elevated liking. Experiment 1 involved graffiti street-art images, pre-normed to elicit low, moderate and high levels of interest. Subjective reports indicated a predicted enhancement in liking across increasing interest levels. Electroencephalography (EEG) recordings during image viewing revealed different patterns of alpha power in temporal brain regions across interest levels. Experiment 2 enforced a brief initial image-viewing stage and a subsequent reflective image-viewing stage. Differences in alpha power arose in most EEG channels between the initial and deliberative viewing stages. A linear increase in aesthetic liking was again seen across interest levels, with different patterns of alpha activity in temporal and occipital regions across these levels. Overall, the phenomenological data support the PIA Model, while the physiological data suggest that enhanced aesthetic liking might be associated with "flow-feelings" indexed by alpha activity in brain regions linked to visual attention and reducing distraction.

A hole in a piece of cardboard and predictive brain: the incomprehension of modern art in the light of the predictive coding paradigm

Incomprehension of and resistance to contemporaneous art have been constant features in the development of modern art. The predictive coding framework can be used to analyse this response by outlining the difference between the misunderstanding of (i) contemporary conceptual/minimalist art and (ii) early modern avant-garde art and by elucidating their underlying cognitive mechanisms. In both of these cases, incomprehension and its behavioural consequences are tied to the failure of the optimal prediction error (PE) minimization that is involved in the perception of such art works. In the case of contemporary conceptual/minimalist art the failure stems from the fact that the encounter results in non-salient visual sensations and generates no PE. In early modern avant-garde art, the occasional inability of viewers to recognize pictorial content using new pictorial conventions reflected the absence of suitable priors to explain away ambiguous sensory data. The capacity to recognize pictorial content in modernist painting, as a prerequisite for a satisfying encounter with such works and ultimately a wider acceptance of new artistic styles, required an updating of a number of expectations in order to optimize the fit between priors and sensations, from low-level perceptual priors to the development of higher-level, culturally determined expectations. This article is part of the theme issue 'Art, aesthetics and predictive processing: theoretical and empirical perspectives'.

The uncanniness of written text is explained by configural deviation and not by processing disfluency

Deviating from human norms in human-looking artificial entities can elicit uncanny sensations, described as the uncanny valley. This study investigates in three tasks whether configural deviation in written text also increases uncanniness. It further evaluates whether the uncanniness of text is better explained by perceptual disfluency and especially deviations from specialized categories, or conceptual disfluency caused by ambiguity. In the first task, lower sentence readability predicted uncanniness, but deviating sentences were more uncanny than typical sentences despite being just as readable. Furthermore, familiarity with a language increased the effect of configural deviation on uncanniness but not the effect of non-configural deviation (blur). In the second and third tasks, semantically ambiguous words and sentences were not uncannier than typical sentences, but deviating, non-ambiguous sentences were. Deviations from categories with specialized processing mechanisms thus better fit the observed results as an explanation of the uncanny valley than ambiguity-based explanations.

A Possible Anti-anxiety Effect of Appetitive Aggression and a Possible Link to the Work of Donald Winnicott

Various pleasant sensations that give a particularly intense pleasure are able to improve anxiety. In the present study I consider the possibility that their anti-anxiety action depends on the strong pleasure they provide, and I propose a possible mechanism of this action. According to some studies, also appetitive aggression (an aggression that provokes a strong pleasure and that is performed only for the pleasure it provides) can improve anxiety, and in this article I consider the possibility that the pleasure of appetitive aggression is able to reduce anxiety by the same mechanism I have proposed for other intense pleasurable sensations. The aggression performed by a child against the mother or against a substitute for the mother in the first period of life (a period in which this aggression is not dangerous) is a recurring theme throughout the work of of Donald Winnicott. Winnicott stresses that this aggression is necessary for the normal development of the child, and that the child must be free to practise it. According to Winnicott, this aggression is highly pleasurable and is not a response to unpleasant or hostile external situations. For these characteristics it seems to correspond to appetitive aggression in the adult that has been found to be able to reduce anxiety. Consequently, aggression performed by the child in the first period of life may also relieve anxiety, in the same way that appetitive aggression helps against anxiety in the adult. In his writings, Winnicott returns several times to an unthinkable or archaic anxiety that children experience when they feel abandoned by their mother for a period that is too long for them, and all children, according to Winnicott, live on the brink of this anxiety. In this study I propose the hypothesis that aggression in the early period of life may be necessary for children because the intense pleasure it provides may help them against this continuously impending anxiety.

Fostering the Aesthetic Pleasure: The Effect of Verbal Description on Aesthetic Appreciation of Ambiguous and Unambiguous Artworks

Background: Aesthetic experience begins through an intentional shift from automatic visual perceptual processing to an aesthetic state of mind that is evidently directed towards sensory experience. In the present study, we investigated whether portrait descriptions affect the aesthetic pleasure of both ambiguous (i.e., Arcimboldo’s portraits) and unambiguous portraits (i.e., Renaissance portraits). Method: A total sample of 86 participants were recruited and completed both a baseline and a retest session. In the retest session, we implemented a sample audio description for each portrait. The portraits were described by three types of treatment, namely global, local, and historical descriptions. Results: During the retest session, aesthetic pleasure was higher than the baseline. Both the local and the historical treatments improved the aesthetic appreciation of ambiguous portraits; instead, the global and the historical treatment improved aesthetic appreciation of Renaissance portraits during the retest session. Additionally, we found that the response times were slower in the retest session. Conclusion: taken together, these findings suggest that aesthetic preference was affected by the description of an artwork, likely due to a better knowledge of the painting, which prompts a more accurate (and slower) reading of the artwork.

Contour features predict valence and threat judgements in scenes

Quickly scanning an environment to determine relative threat is an essential part of survival. Scene gist extracted rapidly from the environment may help people detect threats. Here, we probed this link between emotional judgements and features of visual scenes. We first extracted curvature, length, and orientation statistics of all images in the International Affective Picture System image set and related them to emotional valence scores. Images containing angular contours were rated as negative, and images containing long contours as positive. We then composed new abstract line drawings with specific combinations of length, angularity, and orientation values and asked participants to rate them as positive or negative, and as safe or threatening. Smooth, long, horizontal contour scenes were rated as positive/safe, while short angular contour scenes were rated as negative/threatening. Our work shows that particular combinations of image features help people make judgements about potential threat in the environment.

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.

Beauty, elegance, grace, and sexiness compared

Beauty is the single most frequently and most broadly used aesthetic virtue term. The present study aimed at providing higher conceptual resolution to the broader notion of beauty by comparing it with three closely related aesthetically evaluative concepts which are likewise lexicalized across many languages: elegance, grace(fulness), and sexiness. We administered a variety of questionnaires that targeted perceptual qualia, cognitive and affective evaluations, as well as specific object properties that are associated with beauty, elegance, grace, and sexiness in personal looks, movements, objects of design, and other domains. This allowed us to reveal distinct and highly nuanced profiles of how a beautiful, elegant, graceful, and sexy appearance is subjectively perceived. As aesthetics is all about nuances, the fine-grained conceptual analysis of the four target concepts of our study provides crucial distinctions for future research.

Art looks different - Semantic and syntactic processing of paintings and associated neurophysiological brain responses

The concept of semantics (meaning) and syntax (structure) seems to be an integral way of how humans perceive and order their environment. Processing natural scenes with semantic or syntactic inconsistencies evokes distinct Event-Related Potentials, ERPs, in the N300/400 and P600, respectively (Vo & Wolfe, 2013). Artworks, however, can by definition use violations of natural relationships as a means of style, especially in surrealist art. To test whether inconsistencies are processed differently in artworks, we presented participants with surrealist paintings containing semantic or syntactic inconsistencies, edited versions without inconsistencies, and as control real photographic versions of each painting. Photographs elicited more pronounced negative ERP amplitudes than paintings in all time windows, N300, N400 and P600. However, the lack of an interaction between image type and inconsistency type indicates that all presented images were processed as artworks, probably due to context effects. The ERPs were largely opposite to those reported previously with everyday life pictures, with syntactic inconsistencies driving the earlier components and eliciting higher amplitudes than semantic ones in the N400, and semantic inconsistencies eliciting a higher amplitude in the P600. We conclude that viewing artworks includes a specific processing mode, entailing syntactic and semantic expectations different from those in natural scenes.

Fluency: A trigger of familiarity for relational representations?

According to Bastin et al.’s integrative memory model, familiarity may be attributed to both entity representations and relational representations. However, the model does not specify what triggers familiarity for relational representations. I argue that fluency is a key player in the attribution of familiarity regardless of the type of representation. Two lines of evidence are reviewed in support of my claim.

Social Cognition in Down Syndrome: Face Tuning in Face-Like Non-Face Images

Individuals with Down syndrome (DS) are widely believed to possess considerable socialization strengths. However, the findings on social cognition capabilities are controversial. In the present study, we investigated whether individuals with DS exhibit shortage in face tuning, one of the indispensable components of social cognition. For this purpose, we implemented a recently developed Face-n-Food paradigm with food-plate images composed of food ingredients such as fruits and vegetables. The key benefit of such face-like non-face images is that single elements do not facilitate face processing. In a spontaneous recognition task, 25 children with DS aged 9 to 18 years were presented with a set of Face-n-Food images bordering on the Giuseppe Arcimboldo style. The set of images was administered in a predetermined order from the least to most resembling a face. In DS individuals, thresholds for recognition of the Face-n-Food images as a face were drastically higher as compared not only with typically developing controls, but also with individuals with autistic spectrum disorders and Williams-Beuren syndrome. This outcome represents a significant step toward better conceptualization of the visual social world in DS and neurodevelopmental disorders in general.

Audiovisual quality impacts assessments of job candidates in video interviews: Evidence for an AV quality bias

Video job interviews have become a common hiring practice, allowing employers to save money and recruit from a wider applicant pool. But differences in job candidates’ internet connections mean that some interviews will have higher audiovisual (AV) quality than others. We hypothesized that interviewers would be impacted by AV quality when they rated job candidates. In two experiments, participants viewed two-minute long simulated Skype interviews that were either unedited (fluent videos) or edited to mimic the effects of a poor internet connection (disfluent videos). Participants in both experiments rated job candidates from fluent videos as more hirable, even after being explicitly told to disregard AV quality (experiment 2). Our findings suggest that video interviews may favor job candidates with better internet connections and that being aware of this bias does not make it go away.

A Possible Link between Anxiety and Schizophrenia and a Possible Role of Anhedonia

In the prodromal phase of schizophrenia, severe alterations of the visual appearance of the environment have been found, accompanied by a state of intense anxiety. The present study considers the possibility that these alterations really exist in the appearance of objects, but that healthy people do not see them. The image of the world that we see is continuously deformed and fragmented by foreshortenings, partial overlapping, and so on and must be constantly reassembled and interpreted; otherwise, it could change so much that we would hardly recognize it. Since pleasure has been found to be involved in visual and cognitive information processing, the possibility is considered that anhedonia (the reduction of the ability to feel pleasure) might interfere with the correct reconstruction and interpretation of the image of the environment and alter its appearance. The possibility is also considered that these alterations might make the environment hostile, might at times evoke the sensation of being trapped by a predator, and might be the cause of the anxiety that accompanies them. According to some authors, they might also induce delusional ideas, in an attempt to restore meaning in a world that has become chaotic and frightening.

Beauty at a glance: The feeling of beauty and the amplitude of pleasure are independent of stimulus duration

Over time, how does beauty develop and decay? Common sense suggests that beauty is intensely felt only after prolonged experience of the object. Here, we present one of various stimuli for a variable duration (1–30 s), measure the observers' pleasure over time, and, finally, ask whether they felt beauty. On each trial, participants (N = 21) either see an image that they had chosen as “movingly beautiful,” see an image with prerated valence, or suck a candy. During the stimulus and a further 60 s, participants rate pleasure continuously using a custom touchscreen web app, EmotionTracker.com. After each trial, participants judge whether they felt beauty. Across all stimulus kinds, durations, and beauty responses, the dynamic pleasure rating has a stereotypical time course that is well fit by a one-parameter model with a brief exponential onset (roughly 2.5 s), a sustained plateau during stimulus presentation, and a long exponential decay (roughly 70 s). Across conditions, only the plateau amplitude varies. Beauty and pleasure amplitude are nearly independent of stimulus duration. The final beauty rating is positively correlated with pleasure amplitude (r = 0.60), and nearly independent of duration (r = 0.10). Beauty's independence from duration is unlike Bentham's 18th-century notion of value (utility), which he supposed to depend on the product of pleasure amplitude and duration. Participants report having felt pleasure as strongly after a mere 1 s stimulus as after longer durations, up to 30 s. Thus, we find that amplitude of pleasure is independent of stimulus duration.

The Ambiguity of Artworks -A Guideline for Empirical Aesthetics Research with Artworks as Stimuli

The aim of this work is to provide researchers from the field of aesthetics with a guideline on working with artworks as stimuli. Empirical aesthetics research is complicated by the uncertainty of the object of research. There is no way to unquestionably tell whether an object is an artwork or not. However, although the extension of the term artwork (i.e., the range of objects to which this concept applies) remains vague, the different intensions of the term artwork (i.e., the internal concept that constitutes a formal definition) are well defined. Here, I review the various concepts of artworks (i.e., intensions) that scientists from different fields use in current research in empirical aesthetics. The selection of stimuli is often not explained and/or does not match the focus of the study. An application of two or more intensions within one study leads to an indeterminacy of the stimuli and, thus, to systematic problems concerning the interpretation and comparability of the experimental results. Based on these intensions and the Pleasure-Interest Model of Aesthetic Liking (Graf and Landwehr, 2015), I compiled a decision tree in order to provide researchers with an instrument that allows a better control over their stimuli.

Expressive intent, ambiguity, and aesthetic experiences of music and poetry

A growing number of studies are investigating the way that aesthetic experiences are generated across different media. Empathy with a perceived human artist has been suggested as a common mechanism [1]. In this study, people heard 30 s excerpts of ambiguous music and poetry preceded by neutral, positively valenced, or negatively valenced information about the composer's or author's intent. The information influenced their perception of the excerpts-excerpts paired with positive intent information were perceived as happier and excerpts paired with negative intent information were perceived as sadder (although across intent conditions, musical excerpts were perceived as happier than poetry excerpts). Moreover, the information modulated the aesthetic experience of the excerpts in different ways for the different excerpt types: positive intent information increased enjoyment and the degree to which people found the musical excerpts to be moving, but negative intent information increased these qualities for poetry. Additionally, positive intent information was judged to better match musical excerpts and negative intent information to better match poetic excerpts. These results suggest that empathy with a perceived human artist is indeed an important shared factor across experiences of music and poetry, but that other mechanisms distinguish the generation of aesthetic appreciation between these two media.

Measuring aesthetic emotions: A review of the literature and a new assessment tool

Aesthetic perception and judgement are not merely cognitive processes, but also involve feelings. Therefore, the empirical study of these experiences requires conceptualization and measurement of aesthetic emotions. Despite the long-standing interest in such emotions, we still lack an assessment tool to capture the broad range of emotions that occur in response to the perceived aesthetic appeal of stimuli. Elicitors of aesthetic emotions are not limited to the arts in the strict sense, but extend to design, built environments, and nature. In this article, we describe the development of a questionnaire that is applicable across many of these domains: the Aesthetic Emotions Scale (Aesthemos). Drawing on theoretical accounts of aesthetic emotions and an extensive review of extant measures of aesthetic emotions within specific domains such as music, literature, film, painting, advertisements, design, and architecture, we propose a framework for studying aesthetic emotions. The Aesthemos, which is based on this framework, contains 21 subscales with two items each, that are designed to assess the emotional signature of responses to stimuli’s perceived aesthetic appeal in a highly differentiated manner. These scales cover prototypical aesthetic emotions (e.g., the feeling of beauty, being moved, fascination, and awe), epistemic emotions (e.g., interest and insight), and emotions indicative of amusement (humor and joy). In addition, the Aesthemos subscales capture both the activating (energy and vitality) and the calming (relaxation) effects of aesthetic experiences, as well as negative emotions that may contribute to aesthetic displeasure (e.g., the feeling of ugliness, boredom, and confusion).

Positive fEMG Patterns with Ambiguity in Paintings

Whereas ambiguity in everyday life is often negatively evaluated, it is considered key in art appreciation. In a facial EMG study, we tested whether the positive role of visual ambiguity in paintings is reflected in a continuous affective evaluation on a subtle level. We presented ambiguous (disfluent) and non-ambiguous (fluent) versions of Magritte paintings and found that M. Zygomaticus major activation was higher and M. corrugator supercilii activation was lower for ambiguous than for non-ambiguous versions. Our findings reflect a positive continuous affective evaluation to visual ambiguity in paintings over the 5 s presentation time. We claim that this finding is indirect evidence for the hypothesis that visual stimuli classified as art, evoke a safe state for indulging into experiencing ambiguity, challenging the notion that processing fluency is generally related to positive affect.

Move me, astonish me… delight my eyes and brain: The Vienna Integrated Model of top-down and bottom-up processes in Art Perception (VIMAP) and corresponding affective, evaluative, and neurophysiological correlates

This paper has a rather audacious purpose: to present a comprehensive theory explaining, and further providing hypotheses for the empirical study of, the multiple ways by which people respond to art. Despite common agreement that interaction with art can be based on a compelling, and occasionally profound, psychological experience, the nature of these interactions is still under debate. We propose a model, The Vienna Integrated Model of Art Perception (VIMAP), with the goal of resolving the multifarious processes that can occur when we perceive and interact with visual art. Specifically, we focus on the need to integrate bottom-up, artwork-derived processes, which have formed the bulk of previous theoretical and empirical assessments, with top-down mechanisms which can describe how individuals adapt or change within their processing experience, and thus how individuals may come to particularly moving, disturbing, transformative, as well as mundane, results. This is achieved by combining several recent lines of theoretical research into a new integrated approach built around three processing checks, which we argue can be used to systematically delineate the possible outcomes in art experience. We also connect our model's processing stages to specific hypotheses for emotional, evaluative, and physiological factors, and address main topics in psychological aesthetics including provocative reactions-chills, awe, thrills, sublime-and difference between "aesthetic" and "everyday" emotional response. Finally, we take the needed step of connecting stages to functional regions in the brain, as well as broader core networks that may coincide with the proposed cognitive checks, and which taken together can serve as a basis for future empirical and theoretical art research.

On the joys of perceiving: Affect as feedback for perceptual predictions

How we perceive, attend to, or remember the stimuli in our environment depends on our preferences for them. Here we argue that this dependence is reciprocal: pleasures and displeasures are heavily dependent on cognitive processing, namely, on our ability to predict the world correctly. We propose that prediction errors, inversely weighted with prior probabilities of predictions, yield subjective experiences of positive or negative affect. In this way, we link affect to predictions within a predictive coding framework. We discuss how three key factors - uncertainty, expectations, and conflict - influence prediction accuracy and show how they shape our affective response. We demonstrate that predictable stimuli are, in general, preferred to unpredictable ones, though too much predictability may decrease this liking effect. Furthermore, the account successfully overcomes the "dark-room" problem, explaining why we do not avoid stimulation to minimize prediction error. We further discuss the implications of our approach for art perception and the utility of affect as feedback for predictions within a prediction-testing architecture of cognition.

Faces on Her and His Mind: Female and Likable

Faces are a valuable source of non-verbal information for daily life social interaction. Mounting evidence points to gender specificity in face perception. Here we search for the factors that can potentially trigger gender differences in tuning to faces. By using a set of Face-n-Food images slightly bordering on the Giuseppe Arcimboldo style, we examine: (i) whether face resemblance is linked to gender specific face impression, and, if so, whether this association is perceiver gender specific; and (ii) whether images most resembling a face are also most likable for female and male perceivers. First, in a spontaneous recognition task, participants were shown a set of Face-n-Food images in a predetermined order from the least to most resembling a face. Then in a two-alternative forced-choice (2AFC) task, participants judged whether each face appeared for them (i) either female or male (Exp. 1); or (ii) either likable or unlikable (Exp. 2). Remarkably, face resemblance is closely connected to gender specific impressions: images more resembling a face elicit also more female-face responses. This link is not perceiver gender specific as it occurs for both females and males. Moreover, face resemblance is positively linked to face likability, but this holds true only for female perceivers. The findings shed light on gender specificity in tuning to faces, and help to clarify abnormalities of the social brain in neurodevelopmental, psychiatric and psychosomatic disorders.

A Possible Role of Anhedonia as Common Substrate for Depression and Anxiety

Depression and anxiety are often comorbid, in up to 70% of cases, and the level of one or the other may fluctuate, leading now to a diagnosis of depression, now to a diagnosis of anxiety. For these reasons, and for the presence of many other common factors, it has been suggested that both are part of the same continuum of problems and that they have a common substrate. This paper proposes the possibility that anhedonia may be an important component of this possible common substrate, and it tries to identify the mechanism with which anhedonia could contribute to causing both depression and anxiety. It also proposes an explanation why an intense pleasure could improve both depression and anxiety.

When Challenging Art Gets Liked: Evidences for a Dual Preference Formation Process for Fluent and Non-Fluent Portraits

Although fluency theory predominates psychological research on human aesthetics, its most severe limitation may be to explain why art that challenges or even violates easy processing can nevertheless be aesthetically rewarding. We discuss long-standing notions on art's potential to offer mental growth opportunities and to tap into a basic epistemic predisposition that hint at a fluency counteracting aesthetic pleasure mechanism. Based on divergent strands of literature on empirical, evolutionary, and philosophical aesthetics, as well as research on disfluency, we presumed that challenging art requires deliberate reflexive processing at the level of "aboutness" in order to be experientially pleasing. Here, we probed such a cognitive mastering mechanism, achieved by iterative cycles of elaboration, as predicted by our model of aesthetic experiences. For the study, two kinds of portraits were applied, one associable to a high fluency and one to a high stimulation potential (according to results of an extensive rating study). In Experiment 1, we provided a repeated evaluation task, which revealed a distinctive preference effect for challenging portraits that was absent in the visual exposition conditions of a familiarity and a mere exposure task (Experiment 2). In a follow-up task (Experiment 3) this preference effect was observed with a novel and more encompassing pool of portraits, which corroborated its stability and robustness. In an explorative stimulus-transfer task (Experiment 4), we investigated the presumed underlying mechanism by testing whether the observed effect would generalize onto novel portraits of the same artist-specific styles. Results discounted an alternative interpretation of a perceptual adaptation effect and hinted at meaning-driven mental activity. Conjointly, findings for inexperienced viewers were indicative of an elaboration based mastering mechanism that selectively operated for mentally challenging portraits. Moreover, findings were in line with a dual-process view of human preference formation with art. Theoretical implications and boundary conditions are discussed.

Everything's Relative? Relative Differences in Processing Fluency and the Effects on Liking

Explanations of aesthetic pleasure based on processing fluency have shown that ease-of-processing fosters liking. What is less clear, however, is how processing fluency arises. Does it arise from a relative comparison among the stimuli presented in the experiment? Or does it arise from a comparison to an internal reference or standard? To address these questions, we conducted two experiments in which two ease-of-processing manipulations were applied: either (1) within-participants, where relative comparisons among stimuli varying in processing ease were possible, or (2) between-participants, where no relative comparisons were possible. In total, 97 participants viewed simple line drawings with high or low visual clarity, presented at four different presentation durations, and rated for felt fluency, liking, and certainty. Our results show that the manipulation of visual clarity led to differences in felt fluency and certainty regardless of being manipulated within- or between-participants. However, liking ratings were only affected when ease-of-processing was manipulated within-participants. Thus, feelings of fluency do not depend on the nature of the reference. On the other hand, participants liked fluent stimuli more only when there were other stimuli varying in ease-of-processing. Thus, relative differences in fluency seem to be crucial for liking judgments.

Do I really feel it? The contributions of subjective fluency and compatibility in low-level effects on aesthetic appreciation

The causes for the liking of objects are multifaceted. According to the processing fluency account, the ease with which an object is processed leads to a subjective feeling of fluency. This subjective feeling is then interpreted as a positive reaction toward the object resulting higher liking. However, evidence regarding the processes underlying this relation is scarce. To show that the subjective feeling can indeed be responsible for liking, we experimentally manipulated processing ease by providing false physiological feedback (varying skin conductance indicated varying feelings of fluency) and by varying presentation times between 100 and 400 ms while participants viewed line drawings of objects and rated them for liking. A first experiment showed that both false physiological feedback and presentation duration influenced liking. Stimuli primed with a (fake) visualization of a physiological correlate of high ease of processing were liked more than stimuli primed with a low ease of processing. Liking ratings in a no-feedback condition fell between the high and low feedback conditions. To explore possible compatibility effects of coupling visual feedback to the fluency interpretation, in a second experiment we reversed the feedback interpretation—visualization of high skin conductance now indicated low ease of processing. The results show a similar pattern, though the effect was subtler. This indicates that when the coupling of feedback to fluency is less apparent or less compatible, the feeling is less strongly linked to liking. Our results support the claim that variations in the feeling of fluency affect the appreciation of objects in terms of liking. Together, the experiments suggest the contributions of processing ease as well as compatibility to the experience of liking.

Rhetorical features facilitate prosodic processing while handicapping ease of semantic comprehension

Studies on rhetorical features of language have reported both enhancing and adverse effects on ease of processing. We hypothesized that two explanations may account for these inconclusive findings. First, the respective gains and losses in ease of processing may apply to different dimensions of language processing (specifically, prosodic and semantic processing) and different types of fluency (perceptual vs. conceptual) and may well allow for an integration into a more comprehensive framework. Second, the effects of rhetorical features may be sensitive to interactions with other rhetorical features; employing a feature separately or in combination with others may then predict starkly different effects. We designed a series of experiments in which we expected the same rhetorical features of the very same sentences to exert adverse effects on semantic (conceptual) fluency and enhancing effects on prosodic (perceptual) fluency. We focused on proverbs that each employ three rhetorical features: rhyme, meter, and brevitas (i.e., artful shortness). The presence of these target features decreased ease of conceptual fluency (semantic comprehension) while enhancing perceptual fluency as reflected in beauty and succinctness ratings that were mainly driven by prosodic features. The rhetorical features also predicted choices for persuasive purposes, yet only for the sentence versions featuring all three rhetorical features; the presence of only one or two rhetorical features had an adverse effect on the choices made. We suggest that the facilitating effects of a combination of rhyme, meter, and rhetorical brevitas on perceptual (prosodic) fluency overcompensated for their adverse effects on conceptual (semantic) fluency, thus resulting in a total net gain both in processing ease and in choices for persuasive purposes.

Artworks as dichotomous objects: implications for the scientific study of aesthetic experience

This paper addresses an issue that has been studied from both scientific and art theoretical perspectives, namely the dichotomous nature of representational artworks. Representational artworks are dichotomous in that they present us with two distinct aspects at once. In one aspect we are aware of what is represented while in the other we are aware of the material from which the representation is composed. The dichotomy arises due the incompatibility, indeed contradiction, between these aspects of awareness, both of which must be present if we are to fully appreciate the artwork. Examples from art history are given to show how artists have exploited this dichotomy in a way that conditions our response to their work. I hypothesize that the degree of manifest dichotomy in a work determines the strength of its aesthetic effect, and propose this could be experimentally tested. I conclude that scientific studies of aesthetic experience should take the dichotomous nature of artworks into account.

Where Does It Come From? Developmental Aspects of Art Appreciation

Art is a unique feature of human experience. It involves the complex interplay among stimuli, persons and contexts. Little is known of how the various features deemed important in art appreciation depend on development, thus are already present at a young age. Similarly to our previous approach with adults of differing levels of expertise, the present study uses structural equation modeling to explore this complex interplay by analyzing differences in the appreciation of classical, abstract and modern artworks by children of two age groups. We measured evaluations of perceived beauty, elicited emotions, arousal and understanding. Structural equation solutions for children not only revealed significant effects of emotion in all conditions, but also confirmed that the dependencies between emotion and liking were consistently higher for younger children, while the interactions of arousal and liking, as well as understanding, were higher for older children. These results are in accordance with a transition from an affective towards an increasingly cognitive knowledge based sense of aesthetics, but underline the importance of emotional processing as fundamental.

The predictive mind and the experience of visual art work

Among the main challenges of the predictive brain/mind concept is how to link prediction at the neural level to prediction at the cognitive-psychological level and finding conceptually robust and empirically verifiable ways to harness this theoretical framework toward explaining higher-order mental and cognitive phenomena, including the subjective experience of aesthetic and symbolic forms. Building on the tentative prediction error account of visual art, this article extends the application of the predictive coding framework to the visual arts. It does so by linking this theoretical discussion to a subjective, phenomenological account of how a work of art is experienced. In order to engage more deeply with a work of art, viewers must be able to tune or adapt their prediction mechanism to recognize art as a specific class of objects whose ontological nature defies predictability, and they must be able to sustain a productive flow of predictions from low-level sensory, recognitional to abstract semantic, conceptual, and affective inferences. The affective component of the process of predictive error optimization that occurs when a viewer enters into dialog with a painting is constituted both by activating the affective affordances within the image and by the affective consequences of prediction error minimization itself. The predictive coding framework also has implications for the problem of the culturality of vision. A person's mindset, which determines what top-down expectations and predictions are generated, is co-constituted by culture-relative skills and knowledge, which form hyperpriors that operate in the perception of art.

Do you like Arcimboldo's? Esthetic appreciation modulates brain activity in solving perceptual ambiguity

Esthetic experience is a unique, affectively colored, self-transcending subject-object relationship in which cognitive processing is felt to flow differently than during everyday experiences. Notwithstanding previous multidisciplinary investigations, how esthetic experience modulates perception is still obscure. We used Arcimboldo's ambiguous portraits to assess how the esthetic context organizes ambiguous percepts. The study was carried out using functional magnetic resonance imaging (fMRI) in healthy young volunteers (mean age 25.45; S.D. 4.51; 9 females), during both an explicit esthetic judgment task and an artwork/non-artwork classification task. We show that a distinct neural mechanism in the fusiform gyrus contributes to the esthetic experience of ambiguous portraits, according to the valence of the esthetic experience. Ambiguous artworks eliciting a negative esthetic experience lead to more pronounced activation of the fusiform face areas than ambiguous artworks eliciting a positive esthetic experience. We also found an interaction between task and ambiguity in the right superior parietal lobule. Taken together, our results demonstrate that a neural mechanism in the content-dependent brain regions of face processing underlies the esthetic experience of ambiguous portraits. Furthermore, they suggest that esthetic experience interacts with perceptual qualities of stimuli in the right superior parietal lobe, supporting the idea that esthetic experience arises from the interaction between top-down orienting of attention and bottom-up perceptual facilitation.

Art in time and space: context modulates the relation between art experience and viewing time

The experience of art emerges from the interaction of various cognitive and affective processes. The unfolding of these processes in time and their relation with viewing behavior, however, is still poorly understood. Here we examined the effect of context on the relation between the experience of art and viewing time, the most basic indicator of viewing behavior. Two groups of participants viewed an art exhibition in one of two contexts: one in the museum, the other in the laboratory. In both cases viewing time was recorded with a mobile eye tracking system. After freely viewing the exhibition, participants rated each artwork on liking, interest, understanding, and ambiguity scales. Our results show that participants in the museum context liked artworks more, found them more interesting, and viewed them longer than those in the laboratory. Analyses with mixed effects models revealed that aesthetic appreciation (compounding liking and interest), understanding, and ambiguity predicted viewing time for artworks and for their corresponding labels. The effect of aesthetic appreciation and ambiguity on viewing time was modulated by context: Whereas art appreciation tended to predict viewing time better in the laboratory than in museum context, the relation between ambiguity and viewing time was positive in the museum and negative in the laboratory context. Our results suggest that art museums foster an enduring and focused aesthetic experience and demonstrate that context modulates the relation between art experience and viewing behavior.