Sequential effects in preference decision: Prior preference assimilates current preference

Modelling individual aesthetic judgements over time

Listening to music, watching a sunset-many sensory experiences are valuable to us, to a degree that differs significantly between individuals, and within an individual over time. We have theorized (Brielmann & Dayan 2022 Psychol. Rev. 129, 1319-1337 (doi:10.1037/rev0000337))) that these idiosyncratic values derive from the task of using experiences to tune the sensory-cognitive system to current and likely future input. We tested the theory using participants' (n = 59) ratings of a set of dog images (n = 55) created using the NeuralCrossbreed morphing algorithm. A full realization of our model that uses feature representations extracted from image-recognizing deep neural nets (e.g. VGG-16) is able to capture liking judgements on a trial-by-trial basis (median r = 0.65), outperforming predictions based on population averages (median r = 0.01). Furthermore, the model's learning component allows it to explain image sequence dependent rating changes, capturing on average 17% more variance in the ratings for the true trial order than for simulated random trial orders. This validation of our theory is the first step towards a comprehensive treatment of individual differences in evaluation. This article is part of the theme issue 'Art, aesthetics and predictive processing: theoretical and empirical perspectives'.

Individual differences in serial dependence manifest when sensory uncertainty is high

Perceptual experience in the recent past has been shown to alter subsequent perception. Recently, it has been suggested that this "serial dependence" effect is modulated by sensory uncertainty. In the current study, by overlaying three different levels of visual noise (i.e., no-, low-, or high-noise) on face stimuli, we investigated how serial dependence in face identity perception varies with sensory uncertainty. After learning two facial identities, the faces were combined at various morph levels and participants reported which identity was perceived while noise and noise-free presentations alternated over trials. Results showed that identity perception of noise-free faces was positively biased toward the past when the previous face was noise-free or highly noisy, but not when a low-noise was added. There were considerable individual differences in bias magnitude for trials preceded by high-noise stimuli which reflected individuals' general bias tendencies. When correlated with the other two conditions, a general bias tendency showed a significant relationship with low-noise trials, but not with no-noise trials. This indicates that the bias tendency of individuals manifests more strongly when the sensory information was uncertain. Therefore, the current findings suggest 1) that sensory uncertainty modulates serial dependence in face identity perception and 2) that an individual's general bias tendency interacts with sensory uncertainty to alter perception.

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

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

Attraction to the recent past in aesthetic judgments: A positive serial dependence for rating artwork

Visual perception can be systematically biased towards the recent past. Many stimulus attributes-including orientation, numerosity, facial expression and attractiveness, and perceived slimness-are systematically biased towards recent past experience. This phenomenon has been termed serial dependence. In the current study, we tested whether serial dependence occurs for aesthetic ratings of artworks. A set of 100 paintings depicting scenery and still life was collected from online archives. For each participant, 40 paintings were randomly selected from the set, and presented sequentially 20 times in random order. Serial dependence was quantified for each observer by measuring how their rating response on each trial depended on the attractiveness of the previous trial. The data were pooled across participants and fitted with a Bayesian model of serial dependence. Results showed that the current painting earned significantly higher aesthetic ratings when participants viewed a more attractive painting on the previous trial, compared to when they viewed a less attractive one. The magnitude of serial dependence was greatest when the attractiveness distance between consecutive paintings was relatively close. The effect held both for 1 s exposure times, and for brief 250 ms exposures (followed by a mask). These findings show that aesthetic judgments are not sequentially independent, showing that positive serial dependencies are not limited to low-level perceptual judgments.

Continuous aesthetic judgment of image sequences

Perceptual judgments are said to be reference-dependent as they change on the basis of recent experiences. Here we quantify sequence effects within two types of aesthetic judgments: (i) individual ratings of single images (during self-paced trials) and (ii) continuous ratings of image sequences. As in the case of known contrast effects, trial-by-trial aesthetic responses are negatively correlated with judgments made toward the preceding image. During continuous judgment, a different type of bias is observed. The onset of change within a sequence introduces a persistent increase in ratings (relative to when the same images are judged in isolation). Furthermore, subjects indicate adjustment patterns and choices that selectively favor sequences that are rich in change. Sequence effects in aesthetic judgments thus differ greatly depending on the continuity and arrangement of presented stimuli. The effects highlighted here are important in understanding sustained aesthetic responses over time, such as those elicited during choreographic and musical arrangements. In contrast, standard measurements of aesthetic responses (over trials) may represent a series of distinct aesthetic experiences (e.g., viewing artworks in a museum).