Fractal curves and complexity

Fractal curves were generated on square initiators and rated in terms of complexity by eight viewers. The stimuli differed in fractional dimension, recursion, and number of segments in their generators. Across six stimulus sets, recursion accounted for most of the variance in complexity judgments, but among stimuli with the most recursive depth, fractal dimension was a respectable predictor. Six variables from previous psychophysical literature known to effect complexity judgments were compared with these fractal variables: symmetry, moments of spatial distribution, angular variance, number of sides,P ² A, and Leeuwenberg codes. The latter three provided reliable predictive value and were highly correlated with recursive depth, fractal dimension, and number of segments in the generator, respectively. Thus, the measures from the previous literature and those of fractal parameters provide equal predictive value in judgments of these stimuli.     

A new conception of visual aesthetic sensitivity

Aesthetic sensitivity has been defined as the ability to recognize and appreciate beauty and compositional excellence, and to judge artistic merit according to standards of aesthetic value. The Visual Aesthetic Sensitivity Test (VAST) has often been used to assess this ability, but recent research has revealed it has several psychometric problems. Such problems are not easily remedied, because they reflect flawed assumptions inherent to the concept of aesthetic sensitivity as traditionally understood, and to the VAST itself. We introduce a new conception of aesthetic sensitivity defined as the extent to which someone's aesthetic valuation is influenced by a given feature. Experiment 1 aimed to characterize aesthetic sensitivity to four prominent features in visual aesthetics: complexity, symmetry, contour, and balance. Experiment 2 aimed to replicate the findings of Experiment 1 and to assess the test–retest reliability of an instrument designed to measure aesthetic sensitivity to these features using an abridged set of stimuli. Our results reveal that people differ remarkably in the extent to which visual features influence their liking, highlighting the crucial role of individual variation when modelling aesthetic preferences. We did not find clear relations between the four measures of aesthetic sensitivity and personality, intelligence, and art interest and knowledge. Finally, our measurement instrument exhibited an adequate-to-good test–retest reliability.     

Perceptual fluency effects in judgments of creativity and beauty: creative objects are perceived fluently yet they are visually complex

ABSTRACT

Perceptual fluency typically has a positive influence on aesthetic evaluations of beauty, but few studies have examined its influence on creativity evaluations. Creativity has two facets, originality and quality. If creativity judgments involve estimating product originality, such judgments may be associated with perceptual disfluency, while product quality may be associated with perceptual fluency. We examined the relationship between perceptual fluency and judgments of creativity and beauty across seven experiments. Creativity judgments were affected by most perceptual fluencysources. We observed a highly-fluent-is-beautiful-and-creative relation when testing repeated exposure and figure-ground contrast. Prototypicality displayed a high-fluency–is-beautiful relation, with creativity judgments unaffected. Visual complexity displayed a consistent disfluent-is-creative effect, with mixed results for beauty. For creativity (but not beauty) evaluations, increased saliency of visual complexity led to discounting fluent-is-creative effects, supporting the hypothesis that there are at least two fluency pathways to creativity judgments that take both originality and quality into account.     

审美的测量:美术能力倾向测验的回顾与展望

美术能力倾向测验对美术人才的识别和选拔具有重要意义。现有测验可分为审美能力测量和艺术创作能力测量两种,其中审美能力测量的测验又可以分为审美判断测验和判断后选择判断理由的两种形式。但以往研究缺乏对审美知觉能力维度的实证研究、没有区分“主观美”和“客观美”,以及缺乏对各类型美术能力倾向测验效度的比较研究。未来可加深对审美知觉能力维度的实证研究,开发多类型美术能力判断测验并比较其效度,开发适用于小学生的美术能力倾向测验,以及开发适合我国国情的美术能力倾向测验。     

The development of sensitivity to visual structure.

Perceived complexity of visual patterns as a function of stimulus structure and contour was studied in 4–5-, 7–8-, and 9–10-yr-old children and adults. Subjects participated in a paired comparison task of visual complexity. Both amount of contour and the presence or absence of structure in the patterns were manipulated The results indicated that complexity judgments of all subjects were affected by the presence of structure at lower levels of contour. With age, gradually increasing weight was attributed to visual structure in high-contour patterns. The results suggested that sensitivity to visual structure may develop well into school age, taking the form of a gradual increase in the number of pattern elements which can be perceived to be organized.     

Auditory and visual differences in time perception

The present experiment assessed intersensory differences in temporal judgments, that is, auditory stimuli are perceived as longer than physically equivalent visual stimuli. The results confirmed the intersensory difference. Auditorially defined intervals were experienced as longer than visually defined intervals. Auditory boundaries were perceived as longer than visual ones. An interaction of boundary modality and interval modality was obtained which suggested that auditorially defined intervals provided more temporal information about events occurring in close temporal proximity than visually defined intervals. It was hypothesized that cognitive factors, specifically stimulus complexity, would affect the auditory and visual systems differentially. This hypothesis was not substantiated, although highly complex stimuli were experienced as longer than those of low complexity.     

Measuring the duration of perception

An analysis is presented of ways in which the total duration of perception of transient visual stimuli may be determined by means of psychophysical judgments of the simultaneity (or relative precedence) of two sensory events. This analysis yields a new method for measuring the duration of perception that only requires judgments of the simultaneity of the offset of one visual target with the onset of another (“offset-onset” judgments), and is thus free of differential biases between onset-onset and offset-onset judgments of simultaneity which could be involved in previous measurements. When three or more perceived durations need to be determined, the new method is more efficient than earlier methods; it requires measurement of only one PSE in order to evaluate one response duration as compared to two PSEs per response duration for previous methods. We also describe ways of determining the presence of some kinds of biases and quantitatively evaluating the magnitude of bias in the new method, as well as bias in onset-onset or offset-offset judgments of simultaneity alone; such evaluations of differential bias were not possible for the earlier methods. An experimental example of a bias analysis is described. No significant biasing effects were detected in the measures of perceived duration that were extracted as either retinal location or background luminance was changed, although background luminance itself markedly influenced the values of perceived duration.     

Confounds in pictorial sets: The role of complexity and familiarity in basic-level picture processing

Complexity is conventionally defined as the level of detail or intricacy contained within a picture. The study of complexity has received relatively little attention-in part, because of the absence of an acceptable metric. Traditionally, normative ratings of complexity have been based on human judgments. However, this study demonstrates that published norms for visual complexity are biased. Familiarity and learning influence the subjective complexity scores for nonsense shapes, with a significant training x familiarity interaction [F(1,52) = 17.53, p < .05]. Several image-processing techniques were explored as alternative measures of picture and image complexity. A perimeter detection measure correlates strongly with human judgments of the complexity of line drawings of real-world objects and nonsense shapes and captures some of the processes important in judgments of subjective complexity, while removing the bias due to familiarity effects.     

Facial attractiveness is appraised in a glance

Those who are physically attractive reap many benefits--from higher average wages to a wider variety of mate choices. Recent studies have investigated what constitutes beauty and how beauty affects explicit social judgments, but little is known about the perceptual or cognitive processing that is affected by aesthetic judgments of faces and why beauty affects our behavior. In this study, the authors show that beauty is perceived when information is minimized by masking or rapid presentation. Perceiving and processing beauty appear to require little attention and to bias subsequent cognitive processes. These facts may make beauty difficult to ignore, possibly leading to its importance in social evaluations.     

Shape correlates of visual and tactual size judgments: A contrast with complexity

Pattern correlates of perceived size were studied by obtaining category judgments of the size of 100 random forms from 40 Ss who explored the forms visually and 40 Ss who explored them factually. Comparison of the modalities and contrasts with perceived complexity were made via intercorrelations of judgments and latencies, multiple regression analyses using factored form dimensions, and correlations with original form measures. By holding area of the forms constant, it was shown that perceived size can be related to characteristics of shape.     

Low-level orientation information for social evaluation in face images

Observers make a range of social evaluations based on facial appearance, including judgments of trustworthiness, warmth, competence, and other aspects of personality. What visual information do people use to make these judgments? While links have been made between perceived social characteristics and other high-level properties of facial appearance (e.g., attractiveness, masculinity), there has been comparatively little effort to link social evaluations to low-level visual features, like spatial frequency and orientation sub-bands, known to be critically important for face processing. We explored the extent to which different social evaluations depended critically on horizontal orientation energy vs. vertical orientation energy, as is the case for face identification and emotion recognition. We found that while trustworthiness judgments exhibited this bias for horizontal orientations, competence and dominance did not, suggesting that social evaluations may depend on a multi-channel representation of facial appearance at early stages of visual processing.     

The effect of polar projection on the perception of euclidean structure from motion

The aim of the present study was to examine whether euclidean structure could be recovered from apparent motion sequences under polar projection. In Experiment 1, length judgments of two sides of a simulated triangle rotating in depth did not reveal effects of type of projection, polar or parallel, on the perception of euclidean structure. However, there was a significant correlation between simulated and produced slants. The results also indicated that absolute depth judgments could not be accounted for by a random mechanism suggested by Todd and Bressan (1990). Experiments 2 and 3, in which a continuous dot surface was substituted for the triangle, showed that polar projection information from a relatively large visual angle, 17.40°, as compared with a small visual angle, 4.35°, facilitated discrimination of depth. Produced height:width ratios were consistently related to simulated shape, although the depth dimension was underestimated. Finally, Experiment 4 showed significant correlations between simulated and produced height:width ratios that could be accounted for only by an analysis in whichX andY velocities were treated independently. As in previous experiments, the variation in the depth dimension was underestimated. It was concluded that the visual system utilizes the additional information that is available in polar projection when recovering structure from motion, but that for different reasons the perceived structure does not become euclidean. These reasons are discussed briefly.     

Field dependence and the role of visual frameworks in the perception of size

The extent to which apparent size is relationally determined has been studied by Rock and Ebenholtz and by Wenderoth, who came to widely differing conclusions as to the magnitude of this phenomenon. In both studies, a large range of individual differences was observed. In the present study, an attempt was made to account for variations in the influence of visual contexts on the perception of size by relating them to the cognitive style dimension of field dependence/independence. In two situations, relativelyfield-dependent observers made size judgments which were influenced by a frame surrounding the target figure, while relatively field-independent observers made size judgments which were influenced by a frame surrounding the target figure, while relatively field-independent observers tended to be less influenced by the frame, making their judgments approximate the retinal size of the target. The results suggest that assessment of the magnitude of the relational determination of apparent size must consider the cognitive style of the observers as well as situational variations.     

Associations between sociocultural pressures to be thin, body distress, and eating disorder symptomatology among Chilean adolescent girls

This study explored the relationships between perceived sociocultural pressure to fulfill the thin beauty ideal, body distress, and the presence of eating disorder symptoms. Participants were 437 Chilean adolescent girls from Arica, northern Chile, aged 13-18. Results showed significant associations between perceived pressure from social agents to be thin and the presence of disrupted eating attitudes and behavior. The perceived influence of advertising, verbal messages and social situations related to eating and dieting emerged as the strongest predictors of eating disorders symptoms. Influence of advertising was also the strongest predictor of body image distress. Age differences emerged in perceived sociocultural pressure to be thin, with older participants reporting higher sociocultural pressure to fulfill the slender beauty ideal. This paper provides information about body distress and associated disturbances, a phenomenon which has seldom been studied in non-Western countries, but which has important health implications.     

THE BEAUTIFUL AND THE SUBLIME IN NATURAL SCIENCE

The various aesthetic phenomena found repeatedly in the scientific enterprise stem from the role of God as artist. If the Creator is an artist, how and why natural scientists study the divine art work can be understood using theological aesthetics and the philosophy of art. The aesthetic phenomena considered here are as follows. First, science reveals beauty and the sublime in natural phenomena. Second, science discovers beauty and the sublime in the theories that are developed to explain natural phenomena. Third, the search for beauty often guides scientists in their work. Fourth, where beauty is perceived, feelings of the sublime often also follow upon further contemplation. This linkage of beauty in science with truth and the sublime runs counter to most aesthetic theory since Kant. Scholarship in theological aesthetics has recently argued that the modern and postmodern elevation of the sublime over beauty is merely a preference that reveals a bias against transcendence—against God. If doing and understanding science can show this sundering of the sublime from the beautiful to be in error, science also gives evidence of transcendence.     

The effects of visual context and individual differences on perception and evaluation of modern art and graffiti art

Traditionally, artworks are seen as autonomous objects that stand (or should stand) on their own. However, at least since the emergence of Conceptual Art in the 1920s and Pop Art in the 1960s, art lacks any distinctive perceptual features that define it as such. Art, therefore, cannot be defined without reference to its context. Some studies have shown that context affects the evaluation of artworks, and that specific contexts (street for graffiti art, museum for modern art) elicit specific effects (Gartus & Leder, 2014). However, it is yet unclear how context changes perception and appreciation processes. In our study we measured eye-movements while participants (64 psychology undergraduates, 48% women) perceived and evaluated beauty, interest, emotional valence, as well as perceived style for modern art and graffiti art embedded into either museum or street contexts. For modern art, beauty and interest ratings were higher in a museum than in a street context, but context made no difference for the ratings of graffiti art. Importantly, we also found an interaction of context and individual interest in graffiti for beauty and interest ratings, as well as for number of fixations. Analyses of eye-movements also revealed that viewing times were in general significantly longer in museum than in street contexts. We conclude that context can have an important influence on aesthetic appreciation. However, some effects depend also on the style of the artworks and the individual art interests of the viewers.     

Li Zehou and Moritz Schlick on the Roots of Beauty

Beginning from the Enlightenment view that beauty or art is ＂useless,＂ the attempts to explain how aesthetic experience and judgment are possible presented by Moritz Schlick and Li Zehou are examined, compared and contrasted. The paper treats three main subjects, the anthropological origins of beauty, the origins of aesthetic judgments and the problem of the purpose or function of beauty or aesthetic experience. In the first--the historical-causal roots of beauty--the problem discussed is how to account for aesthetics in light of the practical needs and pursuits of human beings. For Schlick, the problem is couched in terms of how aesthetic experience can be made consistent with natural selection. The second main subject-the philosophical roots of beauty-is a discussion of the origin in the sense of justification of aesthetic judgments. And the third examines the problem of assigning some purpose to aesthetic feelings and attitudes. An apparent contrast is made, and perhaps resolved, between the respective views of Schlick and Li.     

Dissociating averageness and attractiveness: attractive faces are not always average

Although the averageness hypothesis of facial attractiveness proposes that the attractiveness of faces is mostly a consequence of their averageness, 1 study has shown that caricaturing highly attractive faces makes them mathematically less average but more attractive. Here the authors systematically test the averageness hypothesis in 5 experiments using both rating and visual adaptation paradigms. Visual adaptation has previously been shown to increase both preferences for previously viewed face types (i.e., attractiveness) and their perceived normality (i.e., averageness). The authors used a visual adaptation procedure to test whether facial attractiveness is dependent upon faces' proximity to average (averageness hypothesis) or their location relative to average along an attractiveness dimension in face space (contrast hypothesis). While the typical pattern of change due to visual adaptation was found for judgments of normality, judgments of attractiveness resulted in a very different pattern. The results of these 5 experiments conclusively support the proposal that there are specific nonaverage characteristics that are particularly attractive. The authors discuss important implications for the interpretation of studies using a visual adaptation paradigm to investigate attractiveness.     

Measuring icon complexity: An automated analysis

Measures of icon designs rely heavily on surveys of the perceptions of population samples. Thus, measuring the extent to which changes in the structure of an icon will alter its perceived complexity can be costly and slow. An automated system capable of producing reliable estimates of perceived complexity could reduce development costs and time. Measures of icon complexity developed by Garcia, Badre, and Stasko (1994) and McDougall, Curry, and de Bruijn (1999) were correlated with six icon properties measured using Matlab (MathWorks, 2001) software, which uses image-processing techniques to measure icon properties. The six icon properties measured were icon foreground, the number of objects in an icon, the number of holes in those objects, and two calculations of icon edges and homogeneity in icon structure. The strongest correlates with human judgments of perceived icon complexity (McDougall et al., 1999) were structural variability (r _s = .65) and edge information (r _s = .64).     

More than just perception–action recalibration: Walking through a virtual environment causes rescaling of perceived space

Egocentric distances in virtual environments are commonly underperceived by up to 50 % of the intended distance. However, a brief period of interaction in which participants walk through the virtual environment while receiving visual feedback can dramatically improve distance judgments. Two experiments were designed to explore whether the increase in postinteraction distance judgments is due to perception–action recalibration or the rescaling of perceived space. Perception–action recalibration as a result of walking interaction should only affect action-specific distance judgments, whereas rescaling of perceived space should affect all distance judgments based on the rescaled percept. Participants made blind-walking distance judgments and verbal size judgments in response to objects in a virtual environment before and after interacting with the environment through either walking (Experiment 1) or reaching (Experiment 2). Size judgments were used to infer perceived distance under the assumption of size–distance invariance, and these served as an implicit measure of perceived distance. Preinteraction walking and size-based distance judgments indicated an underperception of egocentric distance, whereas postinteraction walking and size-based distance judgments both increased as a result of the walking interaction, indicating that walking through the virtual environment with continuous visual feedback caused rescaling of the perceived space. However, interaction with the virtual environment through reaching had no effect on either type of distance judgment, indicating that physical translation through the virtual environment may be necessary for a rescaling of perceived space. Furthermore, the size-based distance and walking distance judgments were highly correlated, even across changes in perceived distance, providing support for the size–distance invariance hypothesis.