Futurist Art: Motion and Aesthetics As a Function of Title

The impact of contextual information on aesthetic engagement of artworks

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

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

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

Extension of Dancer's Legs: Increasing Angles Show Motion

Usain Bolt’s Lightning Bolt pose, one arm highly extended to one side, suggests action. Likewise, static pictures of animals, legs extended, show animation. We tested a new cue for motion perception—extension—and in particular extension of dancer’s legs. An experiment with pictures of a dancer finds larger angles between the legs suggest greater movement, especially with in-air poses and in lateral views. Leg positions graded from simply standing to very difficult front and side splits. Liking ratings (a small range) were more related to Difficulty ratings (a large range) than Movement ratings (a moderate range).

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.

Pupil responses to implied motion in figurative and abstract paintings

Motion can be perceived in static images, such as photos and figurative paintings, representing realistic subjects in motion, with or without directional information (e.g., motion blur or speed lines). Motion impression can be achieved even in non-realistic static images such as motion illusions and abstract paintings. It has been shown that visual motion processing affects the diameter of the pupil, responding differently to real, illusory, and implied motion in photographs (IM). It has been suggested that these different effects might be due to top-down modulations from different cortical areas underlying their processing. It is worthwhile to investigate pupillary response to figurative paintings, since they require an even higher level of interpretation than photos representing the same kind of subjects, given the complexity of cognitive processes involved in the aesthetic experience. Also, pupil responses to abstract paintings allows to study the effect of IM perception in representations devoid of real-life motion cues. We measured pupil responses to IM in figurative and abstract artworks depicting static and dynamic scenes, as rated by a large group of individuals not participating in the following experiment. Since the pupillary response is modulated by the subjective image interpretation, a motion rating test has been used to correct individual pupil data according to whether participants actually perceived the presence of motion in the paintings. Pupil responses to movies showing figurative and abstract subjects, and to motion illusions were also measured, to compare real and illusory motion with painted IM. Movies, both figurative and abstract, elicit the largest pupillary dilation of all static stimuli, whereas motion illusions cause the smallest pupil size, as previously shown. Interestingly, pupil responses to IM depend on the paintings' style. Figurative paintings depicting moving subjects cause more dilation than those representing static figures, and pupil size increases with the strength of IM, as already found with realistic photos. The opposite effect is obtained with abstract artworks. Abstract paintings depicting motion produce less dilation than those depicting stillness. In any case, these results reflect the individual subjective perception of dynamism, as the very same paintings can induce opposite responses in observer which interpreted it as static or dynamic. Overall, our data show that pupil size depends on high-level interpretation of motion in paintings, even when they do not represent real-world scenes. Our findings further suggest that the pupil is modulated by multiple top-down cortical mechanisms, involving the processing of motion, attention, memory, imagination, and other cognitive functions necessary for enjoying a complete aesthetic experience.

Functional specificity and neural integration in the aesthetic appreciation of artworks with implied motion

Although there is growing interest in the neural foundations of aesthetic experience, it remains unclear how particular mental subsystems (e.g. perceptual, affective and cognitive) are involved in different types of aesthetic judgements. Here, we use fMRI to investigate the involvement of different neural networks during aesthetic judgements of visual artworks with implied motion cues. First, a behavioural experiment (N = 45) confirmed a preference for paintings with implied motion over static cues. Subsequently, in a preregistered fMRI experiment (N = 27), participants made aesthetic and motion judgements towards paintings representing human bodies in dynamic and static postures. Using functional region-of-interest and Bayesian multilevel modelling approaches, we provide no compelling evidence for unique sensitivity within or between neural systems associated with body perception, motion and affective processing during the aesthetic evaluation of paintings with implied motion. However, we show suggestive evidence that motion and body-selective systems may integrate signals via functional connections with a separate neural network in dorsal parietal cortex, which may act as a relay or integration site. Our findings clarify the roles of basic visual and affective brain circuitry in evaluating a central aesthetic feature-implied motion-while also pointing towards promising future research directions, which involve modelling aesthetic preferences as hierarchical interplay between visual and affective circuits and integration processes in frontoparietal cortex.

The aesthetic experience of critical art: The effects of the context of an art gallery and the way of providing curatorial information

The aim of our research was to investigate the influence of the situational context of presenting contemporary critical artworks (in an art gallery vs in a laboratory setting) and the way in which one is acquainted with contextual information, i.e. a curatorial description (reading it on one's own vs listening to it vs a lack of curatorial information), on the reception of critical art. All experimental stimuli were exemplars of contemporary art which raise current controversial social and political issues. Non-experts in the field of art were asked to rate their emotional reactions on non-verbal scales and estimate their liking and understanding of the artworks. As predicted, the art gallery context increased both the experience of aesthetic emotions-in terms of valence, arousal, subjective significance, and dominance and aesthetic judgements-in terms of liking. Thus, for critical art (i.e. current artworks which critically address serious, up-to-date issues) the situational context of the gallery increased the aesthetic experience-which is in line with previous studies on the gallery (or museum) effect. Curatorial information increased understanding, so non-experts seem to need interpretative guidance in the reception of critical art. Subjective significance was higher in the reading of curatorial information condition than the listening to curatorial information condition or the control condition (a lack of curatorial information). It seems, therefore, that art non-experts have a better understanding of critical art after being exposed to the curatorial description, but this does not result in an increase in liking and aesthetic emotions. Probably this is because the curatorial description allows one to grasp the difficult, often unpleasant issue addressed by critical art.

The neural mechanism of aesthetic judgments of dynamic landscapes: an fMRI study

Most previous neuroaesthetics research has been limited to considering the aesthetic judgment of static stimuli, with few studies examining the aesthetic judgment of dynamic stimuli. The present study explored the neural mechanisms underlying aesthetic judgment of dynamic landscapes, and compared the neural mechanisms between the aesthetic judgments of dynamic landscapes and static ones. Participants were scanned while they performed aesthetic judgments on dynamic landscapes and matched static ones. The results revealed regions of occipital lobe, frontal lobe, supplementary motor area, cingulate cortex and insula were commonly activated both in the aesthetic judgments of dynamic and static landscapes. Furthermore, compared to static landscapes, stronger activations of middle temporal gyrus (MT/V5), and hippocampus were found in the aesthetic judgments of dynamic landscapes. This study provided neural evidence that visual processing related regions, emotion-related regions were more active when viewing dynamic landscapes than static ones, which also indicated that dynamic stimuli were more beautiful than static ones.

Enhanced Associations With Actions of the Artist Influence Gaze Behaviour

The aesthetic experience of the perceiver of art has been suggested to relate to the art-making process of the artist. The artist's gestures during the creation process have been stated to influence the perceiver's art-viewing experience. However, limited studies explore the art-viewing experience in relation to the creative process of the artist. We introduced eye-tracking measures to further establish how congruent actions with the artist influence perceiver's gaze behaviour. Experiments 1 and 2 showed that simultaneous congruent and incongruent actions do not influence gaze behaviour. However, brushstroke paintings were found to be more pleasing than pointillism paintings. In Experiment 3, participants were trained to associate painting actions with hand primes to enhance visuomotor and visuovisual associations with the artist's actions. A greater amount of time was spent fixating brushstroke paintings when presented with a congruent prime compared with an incongruent prime, and fewer fixations were made to these styles of paintings when presented with an incongruent prime. The results suggest that explicit links that allow perceivers to resonate with the artist's actions lead to greater exploration of preferred artwork styles.

Haptic Aesthetics and Bodily Properties of Ori Gersht's Digital Art: A Behavioral and Eye-Tracking Study

Experimental aesthetics has shed light on the involvement of pre-motor areas in the perception of abstract art. However, the contribution of texture perception to aesthetic experience is still understudied. We hypothesized that digital screen-based art, despite its immateriality, might suggest potential sensorimotor stimulation. Original born-digital works of art were selected and manipulated by the artist himself. Five behavioral parameters: Beauty, Liking, Touch, Proximity, and Movement, were investigated under four experimental conditions: Resolution (high/low), and Magnitude (Entire image/detail). These were expected to modulate the quantity of material and textural information afforded by the image. While the Detail condition afforded less content-related information, our results show that it augmented the image's haptic appeal. High Resolution improved the haptic and aesthetic properties of the images. Furthermore, aesthetic ratings positively correlated with sensorimotor ratings. Our results demonstrate a strict relation between the aesthetic and sensorimotor/haptic qualities of the images, empirically establishing a relationship between beholders' bodily involvement and their aesthetic judgment of visual works of art. In addition, we found that beholders' oculomotor behavior is selectively modulated by the perceptual manipulations being performed. The eye-tracking results indicate that the observation of the Entire, original images is the only condition in which the latency of the first fixation is shorter when participants gaze to the left side of the images. These results thus demonstrate the existence of a left-side bias during the observation of digital works of art, in particular, while participants are observing their original version.

The Automatic Evaluation of Regularity and Semantic Decodability in Wallpaper Decorative Patterns

The perception and evaluation of decorative patterns can have a high impact in daily life but has received little empirical attention. This article attempts to offer some insight in terms of the regularity and semantic decodability. The implicit attitudes of subjects were measured by the Implicit Association Test. The results showed that regularity and semantic information can be automatically evaluated. The regular and realistic wallpaper decorative patterns are implicitly preferred to random and abstract ones. The Implicit Association Test effect of the former was greater than the latter. The increase in the number of motifs led to a decrease in the response latencies of regular and realistic patterns. The findings indicated that the processing fluency of wallpaper patterns is enhanced by a translational symmetry operation and a higher conceptual fluency of motifs. The resulting processing acceleration in high-density patterns may be due to the formation of a better Gestalt when the motifs are closer to one another.

Modulation of Neural Activity during Guided Viewing of Visual Art

Mobile Brain-Body Imaging (MoBI) technology was deployed to record multi-modal data from 209 participants to examine the brain's response to artistic stimuli at the Museo de Arte Contemporáneo (MARCO) in Monterrey, México. EEG signals were recorded as the subjects walked through the exhibit in guided groups of 6-8 people. Moreover, guided groups were either provided with an explanation of each art piece (Guided-E), or given no explanation (Guided-NE). The study was performed using portable Muse (InteraXon, Inc, Toronto, ON, Canada) headbands with four dry electrodes located at AF7, AF8, TP9, and TP10. Each participant performed a baseline (BL) control condition devoid of artistic stimuli and selected his/her favorite piece of art (FP) during the guided tour. In this study, we report data related to participants' demographic information and aesthetic preference as well as effects of art viewing on neural activity (EEG) in a select subgroup of 18-30 year-old subjects (Nc = 25) that generated high-quality EEG signals, on both BL and FP conditions. Dependencies on gender, sensor placement, and presence or absence of art explanation were also analyzed. After denoising, clustering of spectral EEG models was used to identify neural patterns associated with BL and FP conditions. Results indicate statistically significant suppression of beta band frequencies (15-25 Hz) in the prefrontal electrodes (AF7 and AF8) during appreciation of subjects' favorite painting, compared to the BL condition, which was significantly different from EEG responses to non-favorite paintings (NFP). No significant differences in brain activity in relation to the presence or absence of explanation during exhibit tours were found. Moreover, a frontal to posterior asymmetry in neural activity was observed, for both BL and FP conditions. These findings provide new information about frequency-related effects of preferred art viewing in brain activity, and support the view that art appreciation is independent of the artists' intent or original interpretation and related to the individual message that viewers themselves provide to each piece.