Continuous ratings of movie watching reveal idiosyncratic dynamics of aesthetic enjoyment

Emotional arousal pattern (EMAP): A new database for modeling momentary subjective and psychophysiological responding to affective stimuli

This article describes a new database (named "EMAP") of 145 individuals' reactions to emotion-provoking film clips. It includes electroencephalographic and peripheral physiological data as well as moment-by-moment ratings for emotional arousal in addition to overall and categorical ratings. The resulting variation in continuous ratings reflects inter-individual variability in emotional responding. To make use of the moment-by-moment data for ratings as well as neurophysiological activity, we used a machine learning approach. The results show that algorithms that are based on temporal information improve predictions compared to algorithms without a temporal component, both within and across participant modeling. Although predicting moment-by-moment changes in emotional experiences by analyzing neurophysiological activity was more difficult than using aggregated experience ratings, selecting a subset of predictors improved the prediction. This also showed that not only single features, for example, skin conductance, but a range of neurophysiological parameters explain variation in subjective fluctuations of subjective experience.

A data-driven, hyper-realistic method for visualizing individual mental representations of faces

Research in person and face perception has broadly focused on group-level consensus that individuals hold when making judgments of others (e.g., “X type of face looks trustworthy”). However, a growing body of research demonstrates that individual variation is larger than shared, stimulus-level variation for many social trait judgments. Despite this insight, little research to date has focused on building and explaining individual models of face perception. Studies and methodologies that have examined individual models are limited in what visualizations they can reliably produce to either noisy and blurry or computer avatar representations. Methods that produce low-fidelity visual representations inhibit generalizability by being clearly computer manipulated and produced. In the present work, we introduce a novel paradigm to visualize individual models of face judgments by leveraging state-of-the-art computer vision methods. Our proposed method can produce a set of photorealistic face images that correspond to an individual's mental representation of a specific attribute across a variety of attribute intensities. We provide a proof-of-concept study which examines perceived trustworthiness/untrustworthiness and masculinity/femininity. We close with a discussion of future work to substantiate our proposed method.

Naturalistic viewing conditions can increase task engagement and aesthetic preference but have only minimal impact on EEG quality

Free gaze and moving images are typically avoided in EEG experiments due to the expected generation of artifacts and noise. Yet for a growing number of research questions, loosening these rigorous restrictions would be beneficial. Among these is research on visual aesthetic experiences, which often involve open-ended exploration of highly variable stimuli. Here we systematically compare the effect of conservative vs. more liberal experimental settings on various measures of behavior, brain activity and physiology in an aesthetic rating task. Our primary aim was to assess EEG signal quality. 43 participants either maintained fixation or were allowed to gaze freely, and viewed either static images or dynamic (video) stimuli consisting of dance performances or nature scenes. A passive auditory background task (auditory steady-state response; ASSR) was added as a proxy measure for overall EEG recording quality. We recorded EEG, ECG and eyetracking data, and participants rated their aesthetic preference and state of boredom on each trial. Whereas both behavioral ratings and gaze behavior were affected by task and stimulus manipulations, EEG SNR was barely affected and generally robust across all conditions, despite only minimal preprocessing and no trial rejection. In particular, we show that using video stimuli does not necessarily result in lower EEG quality and can, on the contrary, significantly reduce eye movements while increasing both the participants' aesthetic response and general task engagement. We see these as encouraging results indicating that - at least in the lab - more liberal experimental conditions can be adopted without significant loss of signal quality.

Similarity of gaze patterns across physical and virtual versions of an installation artwork

An experiment was conducted to compare museum visitors' gaze patterns using mobile eye-trackers, whilst they were engaging with a physical and a virtual reality (VR) installation of Piet Mondrian's Neo-plasticist room design. Visitors' eye movements produced approximately 25,000 fixations and were analysed using linear mixed-effects models. Absolute and area-normalized dwell time analyses yielded mostly non-significant main effects of the environment, indicating similarity of visual exploration patterns between physical and VR settings. One major difference observed was the decrease of average fixation duration in VR, where visitors tended to more rapidly switch focus in this environment with shorter bursts of attentional focus. The experiment demonstrated the ability to compare gaze data between physical and virtual environments as a proxy to measure the similarity of aesthetic experience. Similarity of viewing patterns along with questionnaire results suggested that virtual galleries can be treated as ecologically valid environments that are parallel to physical art galleries.

In the hands of the beholder: Wearing a COVID-19 mask is associated with its attractiveness

Protective facial masks reduce the spread of COVID-19 infection and save lives. Yet a substantial number of people have been resistant to wearing them. Considerable effort has been invested in convincing people to put on a mask, if not for their own sake than for those more vulnerable. Social and cognitive psychologists know that use and liking go both ways: people use what they like, and they like what they use. Here we asked whether positive attitudes towards facial masks were higher in those who had been wearing them longer. We asked participants in a diverse sample (N = 498 from five countries and more than 30 US states) to rate how attractive and emotionally arousing masks and other objects associated with COVID-19 were in comparison to neutral objects, as well as reporting on their mask-wearing habits. To confirm reliability of findings, the experiment was repeated in a subset of participants 8–10 weeks later. The findings show that regular use of protective masks was linked to their positive appraisal, with a higher frequency and a longer history of wearing a mask predicting increased mask attractiveness. These results extended to other COVID-related objects relative to controls. They also provide critical ecological validity for the idea that emotional appraisal of everyday objects is associated with our experience of using them. Practically, they imply that societal measures to encourage mask wearing may have contributed to positive emotional appraisals in those who put them on, whether due to personal choice or societal pressure.

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

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

Why and How Should Cognitive Science Care about Aesthetics?

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