Cultural significance of leg‐to‐body ratio preferences? Evidence from Britain and rural Malaysia

The leg-to-body ratio (LBR) has been suggested as an under-researched aesthetic criterion in humans. In the present study, 54 rural Malaysians and 80 Britons rated for physical attractiveness a set of line drawings that varied in five levels of LBR. The results showed that, for British participants, a higher LBR was preferred in women but a lower LBR was preferred in men. Malaysian participants, in contrast, rated medium female LBR and low male LBR as the most attractive. These results are discussed in terms of cross-cultural differences in media exposure, which may moderate judgements of attractiveness of various body components.     

The influence of leg-to-body ratio (LBR) on judgments of female physical attractiveness: Assessments of computer-generated images varying in LBR

The leg-to-body ratio (LBR), which is reliably associated with developmental stability and health outcomes, is an understudied component of human physical attractiveness. Several studies examining the effects of LBR on aesthetic judgments have been limited by the reliance on stimuli composed of hand-drawn silhouettes. In the present study, we developed a new set of female computer-generated images portraying eight levels of LBR that fell within the typical range of human variation. A community sample of 207 Britons in London and students from two samples drawn from a US university (Ns = 940, 114) rated the physical attractiveness of the images. We found that mid-ranging female LBRs were perceived as maximally attractive. The present research overcomes some of the problems associated with past work on LBR and aesthetic preferences through use of computer-generated images rather than hand-drawn images and provides an instrument that may be useful in future investigations of LBR preferences.     

Books Received

Leg-to-body ratio (LBR) is one of the morphological traits that influences a person's attractiveness. To date, studies confirming that hypothesis have been conducted mainly in Western cultures. They have shown that the average or slightly higher-than-the-average LBR is perceived to be attractive in women. In the case of men, results were more ambiguous; however generally shorter or similar LBRs compared to females were attractive. Here, data on LBR preferences of a traditional, semi-nomad ethnic group (i.e., the Himba of northern Namibia, n = 81) are reported. Also in Himba people LBR influences a person's attractiveness. Similar to Western societies, extremely high and low LBRs were unattractive. However, contrary to previous findings, Himba preferred women of relatively low LBR and men of relatively high LBR.     

Did Venus have long legs? Beauty standards from various historical periods reflected in works of art

Research on perception of attractiveness of leg-to-body ratio (LBR) described here has shown that people prefer relatively long-legged silhouettes (particularly while assessing women). The LBR of attractive women over historical periods (analyses of attractive silhouettes from paintings, sculptures, etc) has been more changeable than that of men. The findings reported here might represent evidence against the cross-cultural universality of the attractiveness of long legs.     

A dot that went for a walk: People prefer lines drawn with human-like kinematics

A dominant theory of embodied aesthetic experience (Freedberg & Gallese, 2007, Trends in Cognitive Sciences, 11, 197) posits that the appreciation of visual art is linked to the artist’s movements when creating the artwork, yet a direct link between the kinematics of drawing actions and the aesthetics of drawing outcomes has not been experimentally demonstrated. Across four experiments, we measured aesthetic responses of students from arts and non-arts backgrounds to drawing movements generated from computational models of human writing. Experiment 1 demonstrated that human-like drawing movements with bell-shaped velocity profiles (Sigma Lognormal [SL] and Minimum Jerk [MJ]) are perceived as more natural and pleasant than movements with a uniform profile, and in both Experiments 1 and 2 movements that were perceived as more natural were also preferred. Experiment 3 showed that this effect persists if lower-level dynamic stimulus features are fully matched across experimental and control conditions. Furthermore, aesthetic preference for human-like movements were associated with greater perceptual fluency in Experiment 3, evidenced by unbiased estimations of the duration of natural movements. In Experiment 4, line drawings with visual features consistent with the dynamics of natural, human-like movements were preferred, but only by art students. Our findings directly link the aesthetics of human action to the visual aesthetics of drawings, but highlight the importance of incorporating artistic expertise into embodied accounts of aesthetic experience.     

Line Spacing in Mondrian Paintings and Computer-Generated Modifications

Students compared computer-generated pictures of which I had line spacing and orientation proportional to that in a Mondrian picture (Mondrian-like), and 9 had divergent line spacing (divergently spaced). Preference was above average for the Mondrian-like picture compared with that for the divergently spaced pictures. However, participants did not prefer the Mondrian-like picture to divergently spaced pictures that were preselected as aesthetically pleasing by other participants. The results of the present experiments suggest that a computer algorithm can be developed to modify a picture in a way that is comparable with the way in which humans modify a picture to obtain a preferred picture. If aesthetic appeal is used in the storage and retrieval of visual information, then the algorithm could provide a better understanding of human perceptual processes. The results are related to consistency of aesthetic judgments across participants, levels of processing, and apparent contrast effects.     

Line spacing in Mondrian paintings and computer-generated modifications

Students compared computer-generated pictures of which 1 had line spacing and orientation proportional to that in a Mondrian picture (Mondrian-like), and 9 had divergent line spacing (divergently spaced). Preference was above average for the Mondrian-like picture compared with that for the divergently spaced pictures. However, participants did not prefer the Mondrian-like picture to divergently spaced pictures that were preselected as aesthetically pleasing by other participants. The results of the present experiments suggest that a computer algorithm can be developed to modify a picture in a way that is comparable with the way in which humans modify a picture to obtain a preferred picture. If aesthetic appeal is used in the storage and retrieval of visual information, then the algorithm could provide a better understanding of human perceptual processes. The results are related to consistency of aesthetic judgments across participants, levels of processing, and apparent contrast effects.     

Minimal mimicry: Mere effector matching induces preference

Both mimicking and being mimicked induces preference for a target. The present experiments investigate the minimal sufficient conditions for this mimicry-preference link to occur. We argue that mere effector matching between one’s own and the other person’s movement is sufficient to induce preference, independent of which movement is actually performed. In Experiments 1 and 2, participants moved either their arms or legs, and watched avatars that moved either their arms or legs, respectively, without any instructions to mimic. The executed movements themselves and their pace were completely different between participants (fast circular movements) and targets (slow linear movements). Participants preferred avatars that moved the same body part as they did over avatars that moved a different body part. In Experiment 3, using human targets and differently paced movements, movement similarity was manipulated in addition to effector overlap (moving forward–backward or sideways with arms or legs, respectively). Only effector matching, but not movement matching, influenced preference ratings. These findings suggest that mere effector overlap is sufficient to trigger preference by mimicry.     

Minimal mimicry: Mere effector matching induces preference

Both mimicking and being mimicked induces preference for a target. The present experiments investigate the minimal sufficient conditions for this mimicry-preference link to occur. We argue that mere effector matching between one’s own and the other person’s movement is sufficient to induce preference, independent of which movement is actually performed. In Experiments 1 and 2, participants moved either their arms or legs, and watched avatars that moved either their arms or legs, respectively, without any instructions to mimic. The executed movements themselves and their pace were completely different between participants (fast circular movements) and targets (slow linear movements). Participants preferred avatars that moved the same body part as they did over avatars that moved a different body part. In Experiment 3, using human targets and differently paced movements, movement similarity was manipulated in addition to effector overlap (moving forward–backward or sideways with arms or legs, respectively). Only effector matching, but not movement matching, influenced preference ratings. These findings suggest that mere effector overlap is sufficient to trigger preference by mimicry.     

Aesthetic activities and aesthetic attitudes: Influences of education,background and personality on interest and involvement in the arts

There have been few studies of why some people are frequently involved in aesthetic activities such as going to the theatre, reading or playing musical instruments, whereas others are less involved. This study assesses the broad roles of education, personality and demographic factors such as social class, age and sex. More aesthetic activity was associated with music and art education, whereas science education had a substantial negative relationship with aesthetic activity, both directly and also indirectly via reduced art education. More aesthetic activity was particularly related to higher scores on the personality factor of openness, and also to lower scores on agreeableness and conscientiousness. Higher parental social class was also associated with more aesthetic activity, as also was lower age. Sex had no relationship to aesthetic activity, as neither did masculinity?femininity. Positive aesthetic attitudes were also related moderately to aesthetic activity, but were particularly strongly related to openness to experience, and somewhat less to extraversion. Class, age and sex had no direct relationship to aesthetic attitudes.     

Do chimpanzees know what others can and cannot do? Reasoning about ‘capability’

Much recent comparative work has been devoted to exploring what nonhuman primates understand about physical causality. However, few laboratory experiments have attempted to test what nonhumans understand about what physical acts others are capable of performing. We tested seven chimpanzees’ ability to predict which of two human experimenters could deliver a tray containing a food reward. In the ‘floor’ condition, legs were required to push the tray toward the subject. In the ‘lap’ condition, arms were required to hand the tray to the subject. In Exp. 1, chimpanzees begged (by gesturing) to either an experimenter whose legs were not visible (LNV) or whose arms were not visible (ANV). Rather than flexibly altering their preferences between conditions, the chimpanzees preferred the ANV experimenter regardless of the task. In subsequent experiments, we manipulated various factors that might have controlled the chimpanzees’ preferences, such as (a) distance between experimenter and subject (Experiment 2), (b) amount of occlusion of experimenters’ body (Experiments 2 and 3), (c) contact with the food tray (Experiments 3 and 4) and (d) positioning of barriers that either impeded the movement of the limbs or not (Experiment 5). The chimpanzees’ performance was best explained by attention to cues such as perceived proximity, contact, and maximal occlusion of body that although highly predictive in certain tasks, were irrelevant in others. When the discriminative role of such cues was eliminated, performance fell to chance levels, indicating that chimpanzees do not spontaneously (or after considerable training) use limb visibility as a cue to predict the ability of a human to perform particular physical tasks. Thus, the current findings suggest a possible failure of causal reasoning in the context of reasoning about the use of the limbs to perform physical acts.     

Are the aesthetic preferences towards snake species already formed in pre-school aged children?

This study explores aesthetic preferences towards boa and python species among pre-school children and adults, and compares the ratings between the two groups. A set of snake photographs was presented (56 species) to children and adult respondents. The respondents were asked to select the five most preferred and five least preferred species. The children’s agreement on which species were ‘beautiful’ and which were ‘ugly’ was statistically significant and a positive relationship between the mean ranks provided by children and adults was also found (r = .54, P < .001). Children preferred species with thick necks and inconspicuous heads, usually small species, harmless to children. Large pythons probably posed more danger to children than they did to adults during human evolution in African savannas and therefore we hypothesize that young children’s aesthetic preferences were shaped by natural selection through interactions with dangerous snakes.     

Learning to like it: Aesthetic perception of bodies,movements and choreographic structure

Appreciating human movement can be a powerful aesthetic experience. We have used apparent biological motion to investigate the aesthetic effects of three levels of movement representation: body postures, movement transitions and choreographic structure. Symmetrical (ABCDCBA) and asymmetrical (ABCDBCA) sequences of apparent movement were created from static postures, and were presented in an artificial grammar learning paradigm. Additionally, “good” continuation of apparent movements was manipulated by changing the number of movement path reversals within a sequence. In an initial exposure phase, one group of participants saw only symmetrical sequences, while another group saw only asymmetrical sequences. In a subsequent test phase, both groups rated all sequences on an aesthetic evaluation scale. We found that posture, movement, and choreographic structure all influenced aesthetic ratings. Separate ratings for the static body postures presented individually showed that both groups preferred a posture that maximized spatial symmetry. Ratings for the experimental sequences showed that both groups gave higher ratings to symmetrical sequences with “good” continuation and lower ratings to sequences with many path reversals. Further, participants who had been initially familiarized with asymmetrical sequences showed increased liking for asymmetrical sequences, suggesting a structural mere exposure effect. Aesthetic preferences thus depend on body postures, apparent movement continuation and choreographic structure. We propose a hierarchical model of aesthetic perception of human movement with distinct processing levels for body postures, movements and choreographic structure.     

Eye centring in portraits: a theoretical and empirical evaluation

Tyler (1998 Nature 392 877) proposed that 'painters centre one eye in portraits', and that this is a hidden aesthetic principle used implicitly by artists and by viewers of portraits. We assess that hypothesis in three related studies: a Monte-Carlo analysis of eye placement in synthetic faces randomly placed within a frame; a survey of eye position in 786 painted portraits from Western art of the past six centuries; and an experimental study in which fifty subjects were asked which of two versions of 60 pairs of portraits they preferred, in only one of which the eye was precisely centred. Taken together, the three studies showed no evidence to support Tyler's hypothesis, and in particular there was no evidence for subjects having an aesthetic preference for a centred eye in portraits. We conclude that one eye tends to be relatively close to the vertical midline because of geometric constraints on the placing of a relatively large object, the head, within a pictorial frame.     

Why Should We Save Nature's Hidden Gems?

Aesthetic preservation is the idea of sparing natural areas from development because of their aesthetic value. In this article I discuss a problem for aesthetic preservation that I call the ‘hidden gems problem’: in certain cases, the natural area under consideration is so remote and/or fragile that few people can actually experience it. In these cases, it becomes unclear how nature's aesthetic value can justify its preservation when development promises practical human benefits. After rejecting some potential responses to the hidden gems problem, I offer a different solution. I argue that we have an aesthetic reason to preserve nature's hidden gems because they are required to produce ‘true judges’ of aesthetic value, who are capable of improving the general quality of taste for landscape. I develop this argument using the example of recent preservationist efforts to save the isolated landscape of Sable Island, Nova Scotia.     

‘Most advanced,yet acceptable’: Typicality and novelty as joint predictors of aesthetic preference in industrial design

Typicality and novelty have often been shown to be related to aesthetic preference of human artefacts. Since a typical product is rarely new and, conversely, a novel product will not often be designated as typical, the positive effects of both features seem incompatible. In three studies it was shown that typicality (operationalized as ‘goodness of example’) and novelty are jointly and equally effective in explaining the aesthetic preference of consumer products, but that they suppress each other's effect. Direct correlations between both variables and aesthetic preference were not significant, but each relationship became highly significant when the influence of the other variable was partialed out. In Study 2, it was furthermore demonstrated that the expertise level of observers did not affect the relative contribution of novelty and typicality. It was finally shown (Study 3) that a more ‘objective’ measure of typicality, central tendency — operationalized as an exemplar's average similarity to all other members of the category — yielded the same effect of typicality on aesthetic preference. In sum, all three studies showed that people prefer novel designs as long as the novelty does not affect typicality, or, phrased differently, they prefer typicality given that this is not to the detriment of novelty. Preferred are products with an optimal combination of both aspects.     

Energetic Cost and Stability during Human Walking at the Preferred Stride Frequency

The possibility that preferred modes of locomotion emerge from dynamical and optimality constraints and the energetic and dynamical constraints on preferred and predicted walking frequency are explored in this article. Participants were required to walk on a treadmill at their preferred frequency, at a frequency predicted as the resonance of a hybrid pendulum-spring model of the legs, and at frequencies ±15%, ±25%, ±35% of the predicted frequency. Walking at the preferred and predicted frequencies resulted in minimal metabolic costs and maximal stability of the head and joint actions. Mechanical energy conservation was constant across conditions. The head was more stable than the joints. The joints appeared to be in service of the head in maintaining a stable trajectory. The major findings of this study suggest a complementary relationship between energetic (physiological) and stability constraints in the adoption of a preferred frequency of walking. Multiple subsystems may be involved in constraining observed macroscopic behavior in intact biological systems. The approach and results of the study imply that a useful tack in understanding how dynamical control structures arise is to study the potential criteria that serve to act as constraints on skilled movement patterns in unimpaired and impaired populations.     

Energetic Cost and Stability During Human Walking at the Preferred Stride Velocity

The possibility that preferred modes of locomotion emerge from dynamical and optimality constraints and the energetic and dynamical constraints on preferred and predicted walking frequency are explored in this article. Participants were required to walk on a treadmill at their preferred frequency, at a frequency predicted as the resonance of a hybrid pendulum-spring model of the legs, and at frequencies +/-15%, +/-25%, +/-35% of the predicted frequency. Walking at the preferred and predicted frequencies resulted in minimal metabolic costs and maximal stability of the head and joint actions. Mechanical energy conservation was constant across conditions. The head was more stable than the joints. The joints appeared to be in service of the head in maintaining a stable trajectory. The major findings of this study suggest a complementary relationship between energetic (physiological) and stability constraints in the adoption of a preferred frequency of walking. Multiple subsystems may be involved in constraining observed macroscopic behavior in intact biological systems. The approach and results of the study imply that a useful tack in understanding how dynamical control structures arise is to study the potential criteria that serve to act as constraints on skilled movement patterns in unimpaired and impaired populations.     

Textures that we like to touch: An experimental study of aesthetic preferences for tactile stimuli

We report two experiments designed to investigate the nature of aesthetic preferences for tactile textures in humans. In Experiment 1, the participants rated their preference for a range of actively and passively explored textures presented on their hands and on their cheeks. The results revealed that those textures that were subjectively-rated as smoother were preferred over those that were rated as rougher. Moreover, certain textures were disliked more during active than during passive stimulation. In Experiment 2, the speed of tactile stimulation was controlled in order to elicit vigorous responses from C-tactile fibers (present only in hairy skin), which are thought to play a central role in pleasant aspects of touch. The results revealed that textures were preferred when presented on the hairy skin of the forearm than on the glabrous palm of the hand. These results provide preliminary evidence regarding people’s preferences for different attributes of tactile surface.     

Aesthetic preference and syntactic prototypicality in music: 'tis the gift to be simple

In the dominant aesthetic theory, composers are said to use unpredictable events to tease the listener, and make music optimally challenging and therefore aesthetically pleasing. We tested this claim that events optimally discrepant from a schema will be most pleasing. Experts and novices evaluated harmonic progressions at seven levels of syntactic prototypicality. Four results emerged: (1) even novices were extremely sensitive to syntactic atypicality; (2) all subjects found atypical progressions more interesting and complex; (3) novices and undergraduate music students preferred harmonic prototypes, contrary to most aesthetic theories; (4) only music graduate students preferred atypical progressions. We discuss the striking sensitivity of novices to harmonic syntax. We describe differences between an aesthetic theory based on information and uncertainty, and one based on schemas and schema divergence. We also consider the tonal conservatism of most subjects. This conservatism constrains aesthetic theories, and may have implications for music's stylistic evolution.