Comparing Angular and Curved Shapes in Terms of Implicit Associations and Approach/Avoidance Responses

Measures of angularity in digital images

In light of the growing interest in studying the affective and aesthetic attributes of curvature, the present paper describes four digital image processing techniques that can be used to objectively discriminate between angular and curvilinear stimuli. MATLAB scripts for each of the techniques accompany the paper. Three studies are then reported that evaluate the efficacy of five metrics, derived from the four techniques, at quantifying the degree of angularity depicted in an image. Images of simple polygons (Study 1), artistic drawings of everyday objects (Study 2), and real-world objects, typefaces, and abstract patterns (Study 3) were analyzed. Logistic regression models were used to determine the relative importance of the metrics at distinguishing between angular and curvilinear items. With one exception, all of the metrics were capable of distinguishing between angular and curvilinear items at a level above chance, but some metrics were better at doing so than others, and their discriminative capacity was influenced by the characteristics of the image. The strengths and limitations of the metrics are discussed, as well as some practical recommendations.

Beauty and the sharp fangs of the beast: degree of angularity predicts perceived preference and threat

The evaluation of angular vs. curved forms has a long history in psychology but few of the many studies conducted have examined actual degree of angularity. In two experiments, we present observers with randomly positioned and randomly oriented texture displays of angles viewed within a circular frame. The angle conditions varied from 0° to 180° in 20° increments, covering the entire spectrum of possibilities including acute, obtuse, right, and straight line angles. In Experiment 1, 25 undergraduates rated the perceived beauty of these displays. In Experiment 2, the same stimulus set and procedure were used with 27 participants instead judging perceived threat. Based on the findings in the literature, we predicted that sharper angles would be judged less beautiful and more threatening. The results were mostly confirmed. Acute angles are preferred less but there are also distinct preferences for right angles and straight lines, perhaps due to their greater familiarity in constructed environments. There was a consistent and anticipated finding for threat in the second study: the sharper an angle, the greater its perceived threat. Fear of sharp objects as assessed in a personality questionnaire was found to positively correlate with threat judgements. Future work should look more closely at degree of angularity in embedded object contours and at individual response differences.

The influence of memory for impressions based on behaviours and beliefs on approach/avoidance decisions

Recent work has shown that memory for various types of information associated with social targets (impressions based on behaviours and political ideology) influences decisions to approach or avoid those same targets. The current study was intended to better understand the extent that memory for other types of details associated with targets (beliefs and behaviours) affects subsequent approach/avoidance decisions. In this investigation, participants formed impressions of social targets represented by a picture and a sentence (a belief in Experiment 1; either a belief or behaviour in Experiment 2). Later, memory for the impressions and sentences associated with each target was tested. Finally, participants decided whether they would want to approach or avoid each target. Results demonstrated that accurate memory strongly influenced approach/avoidance decisions for targets associated with different types of information (beliefs; behaviours), although there was no difference in the effect of memory between beliefs and behaviours. Overall, results suggest an important role of memory in decisions to approach or avoid others.

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.

Crossmodal correspondences between basic tastes and visual design features: A narrative historical review

People tend to associate abstract visual features with basic taste qualities. This narrative historical review critically evaluates the literature on these associations, often referred to as crossmodal correspondences, between basic tastes and visual design features such as color hue and shape curvilinearity. The patterns, discrepancies, and evolution in the development of the research are highlighted while the mappings that have been reported to date are summarized. The review also reflects on issues of cross-cultural validity and deviations in the matching patterns that are observed when correspondences are assessed with actual tastants versus with verbal stimuli. The various theories that have been proposed to account for different classes of crossmodal correspondence are discussed, among which the statistical and affective (or emotional-mediation) accounts currently appear most promising. Several critical research questions for the future are presented to address the gaps that have been identified in the literature and help validate the popular theories on the origin and operations of visual-taste correspondences.

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.

Roughness perception: A multisensory/crossmodal perspective

Roughness is a perceptual attribute typically associated with certain stimuli that are presented in one of the spatial senses. In auditory research, the term is typically used to describe the harsh effects that are induced by particular sound qualities (i.e., dissonance) and human/animal vocalizations (e.g., screams, distress cries). In the tactile domain, roughness is a crucial factor determining the perceptual features of a surface. The same feature can also be ascertained visually, by means of the extraction of pattern features that determine the haptic quality of surfaces, such as grain size and density. By contrast, the term roughness has rarely been applied to the description of those stimuli perceived via the chemical senses. In this review, we take a critical look at the putative meaning(s) of the term roughness, when used in both unisensory and multisensory contexts, in an attempt to answer two key questions: (1) Is the use of the term 'roughness' the same in each modality when considered individually? and (2) Do crossmodal correspondences involving roughness match distinct perceptual features or (at least on certain occasions) do they merely pick-up on an amodal property? We start by examining the use of the term in the auditory domain. Next, we summarize the ways in which the term roughness has been used in the literature on tactile and visual perception, and in the domain of olfaction and gustation. Then, we move on to the crossmodal context, reviewing the literature on the perception of roughness in the audiovisual, audiotactile, and auditory-gustatory/olfactory domains. Finally, we highlight some limitations of the reviewed literature and we outline a number of key directions for future empirical research in roughness perception.

Preference at First Sight: Effects of Shape and Font Qualities on Evaluation of Object-Word Pairs

Subjective preferences for visual qualities of shapes and fonts have been separately reported. Such preferences are often similarly attributed to factors such as aesthetic impressions, attributed meaning from the visual properties, or processing fluency. Because shapes and fonts were rarely studied together, we investigated whether these qualities had a similar impact on preference judgment of object-word pairs. Each pair consisted of an abstract object with either preferred or disliked shape qualities and a pseudoword with either preferred or disliked font qualities. We found that only shape qualities, but not font qualities, influenced preference ratings of the object-word pairs, with higher preferences for pairs with preferred than disliked shapes. Moreover, eye movement results indicated that while participants fixated the word before the object, their prolonged fixation on the object when first attending to it might have contributed to the preference ratings. Nonetheless, other measures, including response times, total fixation numbers, and total dwell time, showed different patterns for shape and font qualities, revealing that participants attended more to objects with preferred than disliked shapes, and to words with disliked than preferred fonts. Taken together, these results suggest that shape and font qualities have differential influences on preferences and processing of objects and words.

Masked emotions: Do face mask patterns and colors affect the recognition of emotions?

Previous research has shown that face masks impair the ability to perceive social information and the readability of emotions. These studies mostly explored the effect of standard medical, often white, masks on emotion recognition. However, in reality, many individuals prefer masks with different styles. We investigated whether the appearance of the mask (pattern: angular vs. curvy and color: black vs. white) affected the recognition of emotional states. Participants were asked to identify the emotions on faces covered by masks with different designs. The presence of masks resulted in decreasing accuracy and confidence and increasing reaction times, indicating that masks impair emotion recognition. There were no significant effects of angularity versus curvature or color on emotion recognition, which suggests that mask design may not impair the recognition beyond the effect of mere mask wearing. Besides, we found relationships between individual difference variables such as mask wearing attitudes, mask design preferences, individual traits and emotion recognition. The majority of participants demonstrated positive attitudes toward mask wearing and preferred non-patterned black and white masks. Preferences for white masks were associated with better emotion recognition of masked faces. In contrast, those with negative attitudes toward masks showed marginally poorer performance in emotion recognition for masked faces, and preferred patterned more than plain masks, perhaps viewing masks as a fashion item rather than a necessity. Moreover, preferences to wear patterned masks were negatively related to actual wearing of masks indoors and perceived risks of COVID.

Swipes and Saves: A Taxonomy of Factors Influencing Aesthetic Assessments and Perceived Beauty of Mobile Phone Photographs

Digital images taken by mobile phones are the most frequent class of images created today. Due to their omnipresence and the many ways they are encountered, they require a specific focus in research. However, to date, there is no systematic compilation of the various factors that may determine our evaluations of such images, and thus no explanation of how users select and identify relatively “better” or “worse” photos. Here, we propose a theoretical taxonomy of factors influencing the aesthetic appeal of mobile phone photographs. Beyond addressing relatively basic/universal image characteristics, perhaps more related to fast (bottom-up) perceptual processing of an image, we also consider factors involved in the slower (top-down) re-appraisal or deepened aesthetic appreciation of an image. We span this taxonomy across specific types of picture genres commonly taken—portraits of other people, selfies, scenes and food. We also discuss the variety of goals, uses, and contextual aspects of users of mobile phone photography. As a working hypothesis, we propose that two main decisions are often made with mobile phone photographs: (1) Users assess images at a first glance—by swiping through a stack of images—focusing on visual aspects that might be decisive to classify them from “low quality” (too dark, out of focus) to “acceptable” to, in rare cases, “an exceptionally beautiful picture.” (2) Users make more deliberate decisions regarding one’s “favorite” picture or the desire to preserve or share a picture with others, which are presumably tied to aspects such as content, framing, but also culture or personality, which have largely been overlooked in empirical research on perception of photographs. In sum, the present review provides an overview of current focal areas and gaps in research and offers a working foundation for upcoming research on the perception of mobile phone photographs as well as future developments in the fields of image recording and sharing technology.

Generalized Approach/Avoidance Responses to Degraded Affective Stimuli: An Informational Account

Two studies tested whether affective stimuli presented auditorily spontaneously trigger approach/avoidance reactions toward neutral visual stimuli. Contrary to hypotheses, Experiment 1 revealed that when the target was present, participants responded faster after positive (vs. negative) stimuli, and faster to the absence of the target following negative (vs. positive) stimuli, whatever the response modality (i.e., approach/avoidance). Instructions were to approach/avoid stimuli depending on whether a target was presented or not presented. We proposed that affective stimuli were used in this study as information about the presence/absence of the target. In Experiment 2, we replicated the results of Experiment 1 when participants responded to the presence/absence of the target, whereas an approach/avoidance compatibility effect was observed when each response modality was associated with a target. These results indicate that affective stimuli influence approach/avoidance across perceptual modalities and suggest that the link between affective stimuli and behavioral tendencies could be mediated by informational value of affect.

Dining with liberals and conservatives: The social underpinnings of food neophobia

Although food and politics seem to be distant domains, socio-political ideology and food neophobia (i.e., reluctance to eat unfamiliar food) may be related. Conservatives’ high threat sensitivity and the inherently threatening nature of novel foods (the existential explanation), along with conservatives’ negative attitudes toward minority outgroups (e.g., foreigners) and the role of the latter in introducing novel foods to a culture (the social explanation), led us to expect that socio-political ideology would predict food neophobia over and above their common roots. Across two correlational and two experimental studies (N = 627), socio-political ideology emerged as a strong predictor of food neophobia. In addition, the findings did not support the existential explanation, while confirming the social explanation of the ideology–food neophobia link: Conservatives seem more neophobic than liberals not because of their higher threat sensitivity but rather because they hold more negative attitudes toward foreigners who are associated with those foods.

The Perceived Beauty of Convex Polygon Tilings: The Influence of Regularity, Curvature, and Density

Polygon tilings in natural and man-made objects show great variety. Unlike previous studies that have mainly focused on their classification and production methods, this study aimed at exploring factors that may contribute to the perceived beauty of convex polygon tilings. We analyze the dimensions of regularity, curvature, and density, as well as individual differences. Triangle tilings and hexagon tilings were tested in Experiment 1 and 2, respectively. The results showed that the perceived beauty of convex polygon tilings can be enhanced by higher levels of regularity and nonobvious local curvature. Surprisingly, the effect of density appeared to be different, with the dense triangle tilings and the less dense hexagon tilings scoring higher than the reverse. We discuss a possible explanation based on trypophobia caused by different types of polygons, as well as the observers' personality trait of agreeableness.

The Living Space: Psychological Well-Being and Mental Health in Response to Interiors Presented in Virtual Reality

There has been a recent interest in how architecture affects mental health and psychological well-being, motivated by the fact that we spend the majority of our waking time inside and interacting with built environments. Some studies have investigated the psychological responses to indoor design parameters; for instance, contours, and proposed that curved interiors, when compared to angular ones, were aesthetically preferred and induced higher positive emotions. The present study aimed to systematically examine this hypothesis and further explore the impact of contrasting contours on affect, behavior, and cognition. We exposed 42 participants to four well-matched indoor living rooms under a free-exploration photorealistic virtual reality paradigm. We included style as an explorative second-level variable. Out of the 33 outcome variables measured, and after correcting for false discoveries, only two eventually confirmed differences in the contours analysis, in favor of angular rooms. Analysis of style primarily validated the contrast of our stimulus set, and showed significance in one other dependent variable. Results of additional analysis using the Bayesian framework were in line with those of the frequentist approach. The present results provide evidence against the hypothesis that curvature is preferred, suggesting that the psychological response to contours in a close-to-reality architectural setting could be more complex. This study, therefore, helps to communicate a more complete scientific view on the experience of interior spaces and proposes directions for necessary future research.

Spacious Environments Make Us Tolerant-The Role of Emotion and Metaphor

The physical environment plays an important role in moral cognition. Previous research has demonstrated that the physical environment affects individual moral judgment. Investigators have argued that the environment influences moral judgment through emotion and cognition, such as during metaphor processing. Following the intensification of urbanization and increases in population size, the phenomenon of a narrow environment has become more common. However, the relation between environmental spaciousness and moral judgment has not been thoroughly examined. We examined the effect of environmental spaciousness (spaciousness vs. narrowness) on moral judgments in Experiment 1 and Experiment 2. Results showed that participants report a higher rating score of moral judgment in more spacious environments compared with narrow environments. We further explored the roles of emotion and metaphor in the relation between environmental spaciousness and moral judgments. We found support for a partial mediation effect of emotion in the relationship between environmental spaciousness and moral judgment. The results also supported an association between the concept of spaciousness and tolerant cognition. Spacious environments may elicit positive emotions and more tolerant cognition, which in turn influences moral judgment. These results provide new evidence for the influence of the environment on moral judgments, and more attention may be warranted to incorporate this relationship in environmental design.

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.

Are implicit affective evaluations related to mental rotation performance?

Conscious and unconscious emotions are related to mental rotation. In this study, we investigated if also unconscious emotional evaluations of the stimuli are related to mental rotation performance. 114 students (39 men, 75 women) solved implicit and explicit affective evaluations and a psychometric mental rotation test with cube and pellet figures. Furthermore, the use of spatial toys, the stereotyping of spatial abilities, and the self-rating in spatial abilities were registered. The mental rotation test with pellet figures was more difficult than the one with cube figures. Mental rotation performance was predicted by the self-rating of spatial abilities. For the cube figures, it was additionally predicted by the implicit affective evaluation of those figures. The results did not differ between men and women. The study provides evidence for a relation between affective emotional evaluations and mental imagery processes, although this does not hold true for all stimulus types.

Shape familiarity modulates preference for curvature in drawings of common-use objects

Drawing is a way to represent common-use objects. The contour of an object is a salient feature that defines its identity. Preference for a contour (curved or angular) may depend on how familiar the resulting shape looks for that given object. In this research, we examined the influence of shape familiarity on preference for curved or sharp-angled drawings of common-use objects. We also examined the possibility that some individual differences modulated this preference. Preference for curvature was assessed with a liking rating task (Experiment 1) and with a two-alternative forced-choice task simulating approach/avoidance responses (Experiment 2). Shape familiarity was assessed with a familiarity selection task where participants selected the most familiar shape between the curved and the angular version for each object, or whether both shapes were equally familiar for the object. We found a consistent preference for curvature in both experiments. This preference increased when the objects with a curved shape were selected as the most familiar ones. We also found preference for curvature when participants selected the shape of objects as equally familiar. However, there was no preference for curvature or preference for angularity when participants selected the sharp-angled shapes as the most familiar ones. In Experiment 2, holistic and affective types of intuition predicted higher preference for curvature. Conversely, participants with higher scores in the unconventionality facet showed less preference for the curved drawings. We conclude that shape familiarity and individual characteristics modulate preference for curvature.

Gendered Perceptions of Odd and Even Numbers: An Implicit Association Study From Arabic Culture

Previous studies conducted in the United States indicate that people associate numbers with gender, such that odd numbers are more likely to be considered male and even numbers considered female. It has been argued that this number gendering phenomenon is acquired through social learning and conditioning, and that male-odd/female-even associations reflect a general, cross-cultural human consensus on gender roles relating to agency and communion. However, the incidence and pattern of number gendering in cultures outside the United States remains to be established. Against this background, the purpose of this study was to determine whether people from a culture and country very different from the United States (specifically, native Arabic citizens living in the Arabic culture of the United Arab Emirates) also associate numbers with gender, and, if they do, whether the pattern of these associations is the male-odd/female-even associations previously observed. To investigate this issue, we adopted the Implicit Association Test used frequently in previous research, where associations between numbers (odd and even) and gender (male and female faces) were examined using male and female Arabic participants native to, and resident in, the United Arab Emirates. The findings indicated that the association of numbers with gender does occur in Arabic culture. But while Arabic females associated odd numbers with male faces and even numbers with female faces (the pattern of previous findings in the United States), Arabic males showed the reversed pattern of gender associations, associating even numbers with male faces and odd numbers with female faces. These findings support the view that number gendering is indeed a cross-cultural phenomenon and show that the phenomenon occurs across very different countries and cultures. But the findings also suggest that the pattern with which numbers are associated with gender is not universal and, instead, reflects culture-specific views on gender roles which may change across cultures and gender. Further implications for understanding the association of numbers with gender across human societies are discussed.

Evaluative judgment across domains: Liking balance, contour, symmetry and complexity in melodies and visual designs

Evaluative judgment-i.e., assessing to what degree a stimulus is liked or disliked-is a fundamental aspect of cognition, facilitating comparison and choosing among alternatives, deciding, and prioritizing actions. Neuroimaging studies have shown that evaluative judgment involves the projection of sensory information to the reward circuit. To investigate whether evaluative judgments are based on modality-specific or modality-general attributes, we compared the extent to which balance, contour, symmetry, and complexity affect liking responses in the auditory and visual modalities. We found no significant correlation for any of the four attributes across sensory modalities, except for contour. This suggests that evaluative judgments primarily rely on modality-specific sensory representations elaborated in the brain's sensory cortices and relayed to the reward circuit, rather than abstract modality-general representations. The individual traits art experience, openness to experience, and desire for aesthetics were associated with the extent to which design or compositional attributes influenced liking, but inconsistently across sensory modalities and attributes, also suggesting modality-specific influences.

The role of gender and academic degree on preference for smooth curvature of abstract shapes

BACKGROUND

Preference for smooth contours occurs for a variety of visual stimuli. However, there are individual differences. Openness to experience, a trait associated with aesthetic appreciation, emotional sensitivity and abstract thinking, correlates with this preference. The evaluation of meaningless stimuli entails automatic associations influenced by knowledge, intellectual interests and individual experiences which are diverse. However, it is difficult to capture this variability in studies restricted to Undergraduate students in Psychology with a prevalence of female participants.

METHODS

Here we examined preference for curvature with 160 undergraduate students in Psychology, Mathematics, Engineering and Computer Science, balanced for gender. Participants viewed abstract shapes varying for contour (angular vs. curved). The shapes presented variations in Vertices (10, 20, 30) and Concavity (30%, 40%, 50%) to increase complexity. Participants rated how much they liked each shape on a 0 (dislike) to 100 (like) scale. Furthermore, because students in pure Science disciplines present autistic-like traits as measured with the Autism Quotient (AQ), and there is evidence that individuals with autism respond positively to edgy abstract shapes, participants also completed the AQ.

RESULTS

Overall participants preferred curved shapes to angular shapes. We confirmed past research showing that complexity played a key role, with simple shapes with less vertices (10 vertices) being preferred over shapes with larger number of vertices (20 and 30 vertices). Furthermore, simple shapes (10 vertices) were preferred more with more concavities (50%). Importantly, an interaction between academic degree and gender revealed that preference for smooth curvature was stronger for Psychology female participants. Science students scored higher than Psychology students on the AQ. Interestingly, multilevel analyses showed that the variability of AQ traits in the sample did not contribute to this interaction. The results are discussed in relation to theories of preference formation and individual differences.

Circles Are Detected Faster Than Downward-Pointing Triangles in a Speeded Response Task

Simple geometric shapes are associated with facial emotional expressions. According to previous research, a downward-pointing triangle conveys the threatening perception of an angry facial expression, and a circle conveys the pleasant perception of a happy facial expression. Some studies showed that downward-pointing triangles have the advantage to capture attention faster than circles. Other studies proposed that curvature enhances visual detection and guides attention. We tested a downward-pointing triangle and a circle as target stimuli for a speeded response task. The distractors were two stimuli that resulted from the mixture of both targets to control for low-level features' balanced presentation. We used 3 × 3, 4 × 4, and 5 × 5 matrices to test whether these shapes led attention to an efficient response. In Experiment 1, participants responded faster to the circle than to the downward-pointing triangle. They also responded slower to both targets as the number of distractors increased. In Experiment 2, we replicated the main findings of Experiment 1. Overall, the circle was detected faster than the downward-pointing triangle with small matrices, but this difference decreased as the matrix size increased. We suggest that circles capture attention faster because of the influence of low-level features, that is, curvature in this case.

The shape of the pill: Perceived effects, evoked bodily sensations and emotions

Current research examined the differential effects of pills’ shape (angular vs. curvy) on the perceived efficacy of the medicine, evoked bodily sensations and emotions. We investigated these effects by using different types of angular vs. curved stimuli: abstract drawn shapes (Study 1), 3D-printed mockup pills (Study 2) and photographs of the existing pills (Study 3). Participants were asked to imagine ‘taking’ angular and curved pills. They had to focus on the bodily sensations and report the evoked activations/deactivations in different body parts. Across three studies, we found that the angular pills evoke overall more activations in the body compared to curvy pills. We further reported differences in the topography of angular vs. curved pills’-triggered sensations in different body parts. Our results also revealed that angularity is linked with an energizing effect while roundness is associated with a calming effect. The shape effects were demonstrated not only in self-reported energized vs. calm subjective feelings but also in performance on a timed cognitive test. Compared to incongruent designs, pill designs (angular vs. curved) congruent with proposed drug benefits (energizing vs. calming) were perceived as more effective. Moreover, we found differences in emotions triggered by pills of different shapes. The present research provided new findings on angularity vs. curvature perception that may be valuable for cognitive psychology, marketing, pharmaceutical and supplements industry, and other applied fields.

Dysfunctional perceptual antecedent can justify the social orienting deficit in autism spectrum disorder: an eye-tracking study

Purpose

Children with Autism Spectrum Disorder (ASD) show reduced attention to social stimuli. The reasons for these impairments are still being debated by researchers. The aim of this study is to analyse if reduced attention towards social stimuli is determined by initial underlying difficulties in the control of visual attention. Among the variables that could produce these difficulties, the authors considered geometric complexity and typology of geometric figures.

Design/methodology/approach

To test this hypothesis, in this paper, an eye-tracker paradigm was used for assessing visual exploration and recognition memory towards geometric figures (curved vs rectilinear) with two levels of geometric complexity (low and high) in 17 children with ASD matched with 17 children with typical development (TD).

Findings

The results showed that the ASD group seemed indifferent to both the geometric complexity and the typology of figures (curved and rectilinear), whereas the TD group showed higher performances with highly complex and curved geometric figures than with low complex and rectilinear geometric figures.

Research limitations/implications

Because of the chosen research approach, the research results may lack generalizability. Therefore, researchers are encouraged to test the proposed hypotheses further.

Practical implications

This paper includes implications upon the presence of an unspecified visual attention deficit that is present from the early stages of the processing of stimuli.

Social implications

The understanding of this deficit from the early stages of the processing of stimuli can help educators to intervene at an early stage when disturbances in social relationships are starting.

Originality/value

This study contributes to understanding the presence of dysfunctional perceptual antecedents that could determine general difficulties in paying attention to social stimuli in ASD subjects.

The impact of automatic evaluation on mood: an awareness-dependent effect

How do affective feelings arise? Most theories consider that affective feelings result from the appraisals of an event, these appraisals being the consequences of automatic evaluations processes that can occur pre-consciously. However, studies testing this hypothesis have provided divergent results. We hypothesised that the discrepancy could be due to the visibility of the affective stimuli. We conducted two studies in which we manipulated this factor. Moreover, to exclude a possible explanation of these effects in terms of semantic priming or of experimental demand, we measured participants' facial expressions with EMG in addition to self-report measures (BMIS). The two studies showed that repeated brief exposure to visible positive stimuli (words, Experiment 1 - pictures, Experiment 2) led to more positive feelings than exposure to negative stimuli. In contrast, when the stimuli were masked, the reversed pattern of results was observed. Results on facial EMG indicate similar effects. Consistent with the automatic evaluation hypothesis, the results suggest that assimilative effects of affective stimuli on affective feelings can be observed after a repeated brief presentation of primes, provided that the stimuli are visible. The contrast effects observed when stimuli were masked appear reliable but remain in need for further theoretical explanation.

Global Image Properties Predict Ratings of Affective Pictures

Affective pictures are widely used in studies of human emotions. The objects or scenes shown in affective pictures play a pivotal role in eliciting particular emotions. However, affective processing can also be mediated by low-level perceptual features, such as local brightness contrast, color or the spatial frequency profile. In the present study, we asked whether image properties that reflect global image structure and image composition affect the rating of affective pictures. We focused on 13 global image properties that were previously associated with the esthetic evaluation of visual stimuli, and determined their predictive power for the ratings of five affective picture datasets (IAPS, GAPED, NAPS, DIRTI, and OASIS). First, we used an SVM-RBF classifier to predict high and low ratings for valence and arousal, respectively, and achieved a classification accuracy of 58–76% in this binary decision task. Second, a multiple linear regression analysis revealed that the individual image properties account for between 6 and 20% of the variance in the subjective ratings for valence and arousal. The predictive power of the image properties varies for the different datasets and type of ratings. Ratings tend to share similar sets of predictors if they correlate positively with each other. In conclusion, we obtained evidence from non-linear and linear analyses that affective pictures evoke emotions not only by what they show, but they also differ by how they show it. Whether the human visual system actually uses these perceptive cues for emotional processing remains to be investigated.

Sound symbolic congruency detection in humans but not in great apes

Theories on the evolution of language highlight iconicity as one of the unique features of human language. One important manifestation of iconicity is sound symbolism, the intrinsic relationship between meaningless speech sounds and visual shapes, as exemplified by the famous correspondences between the pseudowords 'maluma' vs. 'takete' and abstract curved and angular shapes. Although sound symbolism has been studied extensively in humans including young children and infants, it has never been investigated in non-human primates lacking language. In the present study, we administered the classic "takete-maluma" paradigm in both humans (N = 24 and N = 31) and great apes (N = 8). In a forced choice matching task, humans but not great apes, showed crossmodal sound symbolic congruency effects, whereby effects were more pronounced for shape selections following round-sounding primes than following edgy-sounding primes. These results suggest that the ability to detect sound symbolic correspondences is the outcome of a phylogenetic process, whose underlying emerging mechanism may be relevant to symbolic ability more generally.

Symmetry preference in shapes, faces, flowers and landscapes

Most people like symmetry, and symmetry has been extensively used in visual art and architecture. In this study, we compared preference for images of abstract and familiar objects in the original format or when containing perfect bilateral symmetry. We created pairs of images for different categories: male faces, female faces, polygons, smoothed version of the polygons, flowers, and landscapes. This design allows us to compare symmetry preference in different domains. Each observer saw all categories randomly interleaved but saw only one of the two images in a pair. After recording preference, we recorded a rating of how salient the symmetry was for each image, and measured how quickly observers could decide which of the two images in a pair was symmetrical. Results reveal a general preference for symmetry in the case of shapes and faces. For landscapes, natural (no perfect symmetry) images were preferred. Correlations with judgments of saliency were present but generally low, and for landscapes the salience of symmetry was negatively related to preference. However, even within the category where symmetry was not liked (landscapes), the separate analysis of original and modified stimuli showed an interesting pattern: Salience of symmetry was correlated positively (artificial) or negatively (original) with preference, suggesting different effects of symmetry within the same class of stimuli based on context and categorization.

The Allocation of Valenced Percepts Onto 3D Space

Research on the metaphorical mapping of valenced concepts onto space indicates that positive, neutral, and negative concepts are mapped onto upward, midward, and downward locations, respectively. More recently, this type of research has been tested for the very first time in 3D physical space. The findings corroborate the mapping of valenced concepts onto the vertical space as described above but further show that positive and negative concepts are placed close to and away from the body; neutral concepts are placed midway. The current study aimed at investigating whether valenced perceptual stimuli are positioned onto 3D space akin to the way valenced concepts are positioned. By using a unique device known as the cognition cube, participants placed visual, auditory, tactile and olfactory stimuli on 3D space. The results mimicked the placing of valenced concepts onto 3D space; i.e., positive percepts were placed in upward and close-to-the-body locations and negative percepts were placed in downward and away-from-the-body locations; neutral percepts were placed midway. These pattern of results was more pronounced in the case of visual stimuli, followed by auditory, tactile, and olfactory stimuli. Significance Statement Just recently, a unique device called "the cognition cube" (CC) enabled to find that positive words are mapped onto upward and close-to-the-body locations and negative words are mapped onto downward and away-from-the-body locations; neutral words are placed midway. This way of placing words in relation to the body is consistent with an approach-avoidance effect such that "good" and "bad" things are kept close to and away from one's body. We demonstrate for the very first time that this same pattern emerges when visual, auditory, tactile, and olfactory perceptual stimuli are placed on 3D physical space. We believe these results are significant in that the CC can be used as a new tool to diagnose emotion-related disorders.

The effects of presentation time on preference for curvature of real objects and meaningless novel patterns

Objects with curved contours are generally preferred to sharp-angled ones. In this study, we aim to determine whether different presentation times influence this preference. We used images of real objects (experiment 1) and meaningless novel patterns (experiment 2). Participants had to select one of two images from a contour pair, curved and sharp-angled versions of the same object/pattern. With real objects, the preference for curved versions was greatest when presented for 84 ms, and it faded when participants were given unlimited viewing time. Curved meaningless patterns were preferred when presented for 84 and 150 ms. However, in contrast to real objects, preference for meaningless patterns increased significantly in the unlimited viewing time condition. Participants discriminated poorly between the two versions (curved and sharp-angled) of the meaningless patterns in the 84- and 150-ms presentations (experiment 3). Therefore, in short times with meaningless patterns, participants selected mostly the curved version without being aware of the difference. In conclusion, presentation time, type of stimulus, and their interaction influence preference for curvature.

The Power of Shape: How Shape of Node-Link Diagrams Impacts Aesthetic Appreciation and Triggers Interest

Positive effects of aesthetically appreciated designs have long been studied and confirmed since the 19th century: such designs are more enjoyable, they are more forgivable for glitches and can increase users' performance. In the field of information visualization, studies of aesthetics are still a niche approach. In the current study, we aim to specifically understand which parameters in a visualization of node-link diagrams make them aesthetically pleasing-an important extension to already existing research on usability and readability aspects. We investigated how the shape of the outline of such diagrams influences the aesthetic judgments on two of the most important dimensions of aesthetic appeal: beauty and interest. We employed different outlines to node-link diagrams and compared them with uniformly filled shapes, varying two important variables typically impacting aesthetics: complexity and curvature. This was done for a short (100 ms) and ad libitum presentation time. Diagrams with curvier outlines were perceived as more beautiful, while diagrams with more complex outlines were considered to be more interesting. These dependencies already exist for presaccadic perception (100 ms) and are slightly stronger for unlimited presentation time. We also found that curvature is a predictor for beauty only for unlimited presentation time. Aesthetic appeal was very similar for diagrams and pure shapes, so many results from fundamental research on aesthetics can potentially be transferred to the community of network visualization, assisting to improve visualizations also in aesthetic regards.

Instagram Likes for Architectural Photos Can Be Predicted by Quantitative Balance Measures and Curvature

“3,058 people like this.” In the digital age, people very commonly indicate their preferences by clicking a Like button. The data generated on the photo-sharing platform Instagram potentially represents a vast, freely accessible resource for research in the field of visual experimental aesthetics. Therefore, we compiled a photo database using images of five different Instagram accounts that fullfil several criteria (e.g., large followership, consistent content). The final database consists of about 700 architectural photographs with the corresponding liking data generated by the Instagram community. First, we aimed at validating Instagram Likes as a potential measure of aesthetic appeal. Second, we checked whether previously studied low-level features of “good” image composition also account for the number of Instagram Likes that architectural photographs received. We considered two measures of visual balance and the preference for curvature over angularity. In addition, differences between images with “2D” vs. “3D” appearance became obvious. Our findings show that visual balance predicts Instagram Likes in more complex “3D” photographs, with more balance meaning more Likes. In the less complex “2D” photographs the relation is reversed, more balance led to fewer Likes. Moreover, there was a general preference for curvature in the Instagram database. Together, our study illustrates the potential of using Instagram Likes as a measure of aesthetic appeal and provides a fruitful methodological basis for future research.

Natural Perspective: Mapping Visual Space with Art and Science

Following its discovery in fifteenth-century Italy, linear perspective has often been hailed as the most accurate method of projecting three-dimensional visual space onto a two-dimensional picture plane. However, when we survey the history of European art it is evident that few artists fully complied with its mathematical rules, despite many of them being rigorously trained in its procedures. In this paper, we will consider how artists have actually depicted visual space, and present evidence that images created according to a “natural” perspective (NP) used by artists are judged as better representations of visual space than those created using standard linear (LP) and curvilinear fisheye (FP) projective geometries. In this study, we built a real three-dimensional scene and produced photographs of the scene in three different perspectives (NP, LP and FP). An online experiment in which we asked people to rank the perspectives in order of preference showed a clear preference for NP compared to the FP and LP. In a second experiment, participants were asked to view the real scene and rate each perspective on a range of psychological variables. Results showed that NP was the most preferred and the most effective in depicting the physical space naturally. We discuss the implications of these results and the advantages and limitations of our approach for studying the global metric and geometrical structure of visual space.

Symbouki: a meta-analysis on the emergence of sound symbolism in early language acquisition

Adults and toddlers systematically associate pseudowords such as "bouba" and "kiki" with round and spiky shapes, respectively, a sound symbolic phenomenon known as the "bouba-kiki effect". To date, whether this sound symbolic effect is a property of the infant brain present at birth or is a learned aspect of language perception remains unknown. Yet, solving this question is fundamental for our understanding of early language acquisition. Indeed, an early sensitivity to such sound symbolic associations could provide a powerful mechanism for language learning, playing a bootstrapping role in the establishment of novel sound-meaning associations. The aim of the present meta-analysis (SymBouKi) is to provide a quantitative overview of the emergence of the bouba-kiki effect in infancy and early childhood. It allows a high-powered assessment of the true sound symbolic effect size by pooling over the entire set of 11 extant studies (six published, five unpublished), entailing data from 425 participants between 4 and 38 months of age. The quantitative data provide statistical support for a moderate, but significant, sound symbolic effect. Further analysis found a greater sensitivity to sound symbolism for bouba-type pseudowords (i.e., round sound-shape correspondences) than for kiki-type pseudowords (i.e., spiky sound-shape correspondences). For the kiki-type pseudowords, the effect emerged with age. Such discrepancy challenges the view that sensitivity to sound symbolism is an innate language mechanism rooted in an exuberant interconnected brain. We propose alternative hypotheses where both innate and learned mechanisms are at play in the emergence of sensitivity to sound symbolic relationships.

Cross-Modal Perception of Noise-in-Music: Audiences Generate Spiky Shapes in Response to Auditory Roughness in a Novel Electroacoustic Concert Setting

Noise has become integral to electroacoustic music aesthetics. In this paper, we define noise as sound that is high in auditory roughness, and examine its effect on cross-modal mapping between sound and visual shape in participants. In order to preserve the ecological validity of contemporary music aesthetics, we developed Rama, a novel interface, for presenting experimentally controlled blocks of electronically generated sounds that varied systematically in roughness, and actively collected data from audience interaction. These sounds were then embedded as musical drones within the overall sound design of a multimedia performance with live musicians, Audience members listened to these sounds, and collectively voted to create the shape of a visual graphic, presented as part of the audio-visual performance. The results of the concert setting were replicated in a controlled laboratory environment to corroborate the findings. Results show a consistent effect of auditory roughness on shape design, with rougher sounds corresponding to spikier shapes. We discuss the implications, as well as evaluate the audience interface.

A biphasic effect of cross-modal priming on visual shape recognition

We used a cross-modal priming paradigm to evoke a biphasic effect in visual short-term memory. Participants were required to match the memorandum (a visual shape, either spiky or curvy) to a delayed probe (a shape belonging to the same category). In two-thirds of trials the sequence of shapes was accompanied by a task-irrelevant sound (either tzk or upo, cross-modally correspondent to spiky and curvy shape categories, respectively). The biphasic effect occurred when a congruent vs. incongruent sound was presented 200ms after the memorandum, while it did not occur when the sound was presented 200ms before or simultaneously with it. The biphasic pattern of recognition sensitivities was revealed by an interaction between cross-modal congruency and probe delay, such that sensitivity was higher for visual shapes paired with a congruent rather than incongruent sound with a 300-ms delay, while the opposite was true with a 1300-ms delay. We suggest that this biphasic pattern of recognition sensitivities was dependent on the task-irrelevant sound activating different levels of shape processing as a function of the relative timing of sound, memorandum, and probe.

On the perceptual aesthetics of interactive objects

This study examined the aesthetics of interactive objects (IOs), which are three-dimensional physical artefacts that exhibit autonomous behaviour when handled. The aim of the research was threefold: first, to investigate whether aesthetic preference for distinctive objects' structures emerges in compound stimulation; second, to explore whether there exists aesthetic preference for distinctive objects' behaviours; and, finally, to test whether there exists aesthetic preference for specific combinations of objects' structures and behaviours. The following variables were systematically manipulated: (a) IOs' contour (rounded vs angular), (b) IOs' size (small vs large), (c) IOs' surface texture (rough vs smooth), and (d) IOs' behaviour (lighting, sounding, vibrating, and quiescent). Results show that behaviour was the dominant factor: it influenced aesthetics more than any other characteristic; vibrating IOs were preferred over lighting and sounding IOs, supporting the importance of haptic processing in aesthetics. Results did not confirm the size and smoothness effects previously reported in vision and touch, respectively, which suggests that the aesthetic preference that emerges in isolated conditions may be different in compound stimulation. Results corroborate the smooth curvature effect. We suggest that behavior may be an aesthetic primitive.

The Saliency of Angular Shapes in Threatening and Nonthreatening Faces

Several lines of evidence suggest that angularity and curvilinearity are relied upon to infer the presence or absence of threat. This study examines whether angular shapes are more salient in threatening compared with nonthreatening emotionally neutral faces. The saliency of angular shapes was measured by the amount of local maxima in S(θ), a function that characterizes how the Fourier magnitude spectrum varies along specific orientations. The validity of this metric was tested and supported with images of threatening and nonthreatening real-world objects and abstract patterns that have predominantly angular or curvilinear features (Experiment 1). This metric was then applied to computer-generated faces that maximally correlate with threat (Experiment 2a) and to real faces that have been rated according to threat (Experiment 3). For computer-generated faces, angular shapes became increasingly salient as the threat level of the faces increased. For real faces, the saliency of angular shapes was not predictive of threat ratings after controlling for other well-established threat cues, however, other facial features related to angularity (e.g., brow steepness) and curvilinearity (e.g., round eyes) were significant predictors. The results offer preliminary support for angularity as a threat cue for emotionally neutral faces.

Angular Versus Curved Shapes: Correspondences and Emotional Processing

The present work aimed to systematically examine sensory and higher level correspondences to angular and curved shapes. Participants matched angular and curved abstract shapes to sensory experiences in five different modalities as well as to emotion, gender, and name attributes presented as written labels (Study 1) and real experiences (Study 2). The results demonstrated nonarbitrary mapping of angular and curved shapes to attributes from all basic sensory modalities (vision, audition, gustation, olfaction, and tactation) and higher level attributes (emotion, gender, and name). Participants associated curved shapes with sweet taste, quiet or calm sound, vanilla smell, green color, smooth texture, relieved emotion, female gender, and wide-vowel names. In contrast, they associated angular shapes with sour taste, loud or dynamic sound, spicy or citrus smell, red color, rough texture, excited or surprise emotion, male gender, and narrow-vowel names. These prevalent correspondences were robust across different shape pairs as well as all sensory and higher level attributes, presented as both verbal labels and real sensory experiences. The second goal of this research was to examine the relationship between the shape correspondences and individual differences in emotional processing, assessed by self-report and performance measures. The results suggest that heightened emotional ability is associated with making shape attributions that go along with the found prevalent trends.

Curve Appeal: Exploring Individual Differences in Preference for Curved Versus Angular Objects

A preference for smooth curvature, as opposed to angularity, is a well-established finding for lines, two-dimensional shapes, and complex objects, but little is known about individual differences. We used two-dimensional black-and-white shapes-randomly generated irregular polygons, and arrays of circles and hexagons-and measured many individual differences, including artistic expertise, personality, and cognitive style. As expected, people preferred curved over angular stimuli, and people's degree of curvature preference correlated across the two sets of shapes. Multilevel models showed varying patterns of interaction between shape and individual differences. For the irregular polygons, people higher in artistic expertise or openness to experience showed a greater preference for curvature. This pattern was not evident for the arrays of circles and hexagons. We discuss the results in relation to the nature of the stimuli, and we conclude that individual differences do play a role in moderating the preference for smooth curvature.

What's in a Face? How Face Gender and Current Affect Influence Perceived Emotion

Faces drive our social interactions. A vast literature suggests an interaction between gender and emotional face perception, with studies using different methodologies demonstrating that the gender of a face can affect how emotions are processed. However, how different is our perception of affective male and female faces? Furthermore, how does our current affective state when viewing faces influence our perceptual biases? We presented participants with a series of faces morphed along an emotional continuum from happy to angry. Participants judged each face morph as either happy or angry. We determined each participant's unique emotional 'neutral' point, defined as the face morph judged to be perceived equally happy and angry, separately for male and female faces. We also assessed how current state affect influenced these perceptual neutral points. Our results indicate that, for both male and female participants, the emotional neutral point for male faces is perceptually biased to be happier than for female faces. This bias suggests that more happiness is required to perceive a male face as emotionally neutral, i.e., we are biased to perceive a male face as more negative. Interestingly, we also find that perceptual biases in perceiving female faces are correlated with current mood, such that positive state affect correlates with perceiving female faces as happier, while we find no significant correlation between negative state affect and the perception of facial emotion. Furthermore, we find reaction time biases, with slower responses for angry male faces compared to angry female faces.