Mapping the similarity space of paintings: Image statistics and visual perception

What makes two images look similar? Here we test the hypothesis that perceived similarity of artwork is related to basic image statistics to which the early visual system is attuned. In two experiments, we employ multidimensional scaling (MDS) analysis of paired-image similarity ratings from observers for paintings. Two sets of images, classified as “landscapes” and “portraits/still-life”, are tested separately. For the landscapes, we find that one of the first two MDS scales of similarity is strongly correlated with a basic greyscale image statistic, whereas the other dimension can be accounted for by a semantic variable (representation of people). For portrait/still-life, the first two MDS scales of similarity are most highly correlated with semantic variables. Linear combinations of statistical and nonstatistical features achieve improved predictive values for the first two MDS scales for both sets. The statistics that play the largest role in shaping similarity judgements in our tests are the activity fraction measure of sparseness and the log-log slope of the spatial frequency amplitude spectrum. We discuss these results in the context of scene perception and in terms of efficient coding of statistical regularities in scenes.     

Seeing the mind behind the art. People can distinguish abstract expressionist paintings from highly similar paintings by children, chimps, monkeys, and elephants

Museumgoers often scoff that costly abstract expressionist paintings could have been made by a child and have mistaken paintings by chimpanzees for professional art. To test whether people really conflate paintings by professionals with paintings by children and animals, we showed art and nonart students paired images, one by an abstract expressionist and one by a child or animal, and asked which they liked more and which they judged as better. The first set of pairs was presented without labels; the second set had labels (e.g., "artist," "child") that were either correct or reversed. Participants preferred professional paintings and judged them as better than the nonprofessional paintings even when the labels were reversed. Art students preferred professional works more often than did nonart students, but the two groups' judgments did not differ. Participants in both groups were more likely to justify their selections of professional than of nonprofessional works in terms of artists' intentions. The world of abstract art is more accessible than people realize.     

Construct Validity of the Relationship Profile Test: Correlates of Overdependence,Detachment, and Healthy Dependency in Low Income Urban Women Seeking Medical Services

Four categories of paintings (N = 200), done by schizophrenic patients, art students, and education students were rated by judges (N = 13) as to whether the painter was schizophrenic or normal. There was significant agreement in correctly identifying paintings, but the percent correct, greater than chance, was only 9.99%. Judges did best on paintings with “human content.” Intelligence scores were related to correct identification of two paintings, while art experience related to proportion was judged schizophrenic for all four paintings. Stepwise regression analysis suggested that intelligence scores were artifactually related to painting scores but art experience was not.     

Uncomfortable images in art and nature

The ratings of discomfort from a wide variety of images can be predicted from the energy at different spatial scales in the image, as measured by the Fourier amplitude spectrum of the luminance. Whereas comfortable images show the regression of Fourier amplitude against spatial frequency common in natural scenes, uncomfortable images show a regression with disproportionately greater amplitude at spatial frequencies within two octaves of 3 cycles deg(-1). In six studies, the amplitude in this spatial frequency range relative to that elsewhere in the spectrum explains variance in judgments of discomfort from art, from images constructed from filtered noise, and from art in which the phase or amplitude spectra have been altered. Striped patterns with spatial frequency within the above range are known to be uncomfortable and capable of provoking headaches and seizures in susceptible persons. The present findings show for the first time that, even in more complex images, the energy in this spatial-frequency range is associated with aversion. We propose a simple measurement that can predict aversion to those works of art that have reached the national media because of negative public reaction.     

Neural correlates of object indeterminacy in art compositions

Indeterminate art invokes a perceptual dilemma in which apparently detailed and vivid images resist identification. We used event-related fMRI to study visual perception of representational, indeterminate and abstract paintings. We hypothesized increased activation along a gradient of posterior-to-anterior ventral visual areas with increased object resolution, and postulated that object resolution would be associated with visual imagery. Behaviorally, subjects were faster to recognize familiar objects in representational than in both indeterminate and abstract paintings. We found activation within a distributed cortical network that includes visual, parietal, limbic and prefrontal regions. Representational paintings, which depict scenes cluttered with familiar objects, evoked stronger activation than indeterminate and abstract paintings in higher-tier visual areas. Perception of scrambled paintings was associated with imagery-related activation in the precuneus and prefrontal cortex. Finally, representational paintings evoked stronger activation than indeterminate paintings in the temporoparietal junction. Our results suggest that perception of familiar content in art works is mediated by object recognition, memory recall and mental imagery, cognitive processes that evoke activation within a distributed cortical network.     

Statistical learning using real-world scenes: extracting categorical regularities without conscious intent

ABSTRACT— Recent work has shown that observers can parse streams of syllables, tones, or visual shapes and learn statistical regularities in them without conscious intent (e.g., learn that A is always followed by B). Here, we demonstrate that these statistical-learning mechanisms can operate at an abstract, conceptual level. In Experiments 1 and 2, observers incidentally learned which semantic categories of natural scenes covaried (e.g., kitchen scenes were always followed by forest scenes). In Experiments 3 and 4, category learning with images of scenes transferred to words that represented the categories. In each experiment, the category of the scenes was irrelevant to the task. Together, these results suggest that statistical-learning mechanisms can operate at a categorical level, enabling generalization of learned regularities using existing conceptual knowledge. Such mechanisms may guide learning in domains as disparate as the acquisition of causal knowledge and the development of cognitive maps from environmental exploration.     

Colour vision is aligned with natural scene statistics at 4 months of age

Visual perception in adult humans is thought to be tuned to represent the statistical regularities of natural scenes. For example, in adults, visual sensitivity to different hues shows an asymmetry which coincides with the statistical regularities of colour in the natural world. Infants are sensitive to statistical regularities in social and linguistic stimuli, but whether or not infants’ visual systems are tuned to natural scene statistics is currently unclear. We measured colour discrimination in infants to investigate whether or not the visual system can represent chromatic scene statistics in very early life. Our results reveal the earliest association between vision and natural scene statistics that has yet been found: even as young as 4 months of age, colour vision is aligned with the distributions of colours in natural scenes.

Research Highlights

1. We find infants’ colour sensitivity is aligned with the distribution of colours in the natural world, as it is in adults.
2. At just 4 months, infants’ visual systems are tailored to extract and represent the statistical regularities of the natural world.
3. This points to a drive for the human brain to represent statistical regularities even at a young age.

     

Personality and art preferences

This study examined the relationship between sensation seeking and preference for paintings. Twenty paintings were classified into four categories: simple/complex and representational/abstract. It was hypothesized that total sensation seeking score and subscales scores would be positively correlated with preferences for simple and, especially complex, abstract art, and negatively correlated with simple, and, especially complex, representational art. Alpha coefficients demonstrated that satisfactory classification of the paintings into four groups. As hypothesized, high scores on total sensation seeking and subscales were positively correlated with abstract art preferences and negatively correlated with representational art preferences. The results are discussed in terms of the major determinants of preferences for art of different types.     

Spatial-attention and emotional evocation: line bisection performance and visual art emotional evocation

Lesion studies demonstrate that the right temporal-parietal region (RTP) is important for mediating spatial attention. The RTP is also involved in emotional experiences that can be evoked by art. Normal people vary in their ability to allocate spatial attention, thus, people who can better allocate attention might also be more influenced by the emotional messages of the paintings (evocative impact). Seventeen healthy participants bisected an unlabeled 100mm line and their performance on this task was used to create two groups, individuals who were more (mALB) and less accurate (lALB). These participants also judged 10 paintings on five qualities, Evocative Impact, Aesthetics, Novelty, Technique, and Closure by marking a 100mm line from 1 (low degree) to 10 (high degree). An ANOVA indicated differences in accuracy on the line bisection (LB) between the two groups. Additional ANOVAs, using the quality ratings as the dependent measure, revealed that the mALB group scored the Evocative Impact greater than the lALB group. These results suggest that the differences in attentional bias between the two groups, as indicated by their LB performance, might influence their evocative impact or reactions and also be a 'barometer' of other RTP functions, including emotional processing.     

Visual statistical learning at basic and subordinate category levels in real-world images

Visual statistical learning (VSL) has been proposed as a powerful mechanism underlying the striking ability of human observers to handle complex visual environments. Previous studies have shown that VSL can occur when statistical information is embedded at multiple levels of abstraction, such as at semantically different category levels. In the present study, we further examined whether statistical regularities at a basic category level (e.g., a regular sequence of a bird, then a car, and then a dog) could influence the ability to extract statistical regularities at the subordinate level (e.g., a regular sequence of a parrot, then a sports car, and then an Eskimo dog). In the familiarization phase, participants were exposed to a stream of real-world images whose semantic categories had temporal regularities. Importantly, the temporal regularities existed at both the basic and subordinate levels, or the regularities existed at only the subordinate level, depending on the experimental condition. After completing the familiarization, participants performed a surprise two-alternative forced choice (2AFC) task for a familiarity judgment between two triplets in which the temporal regularities were either preserved or not preserved. Our results showed that the existence of statistical regularities at the basic level did not influence VSL at the subordinate level. The subsequent experiments showed these results consistently even when the basic-level categories had to be explicitly recognized and when the stimuli were not easily categorized at their subordinate level. Our results suggest that VSL is constrained to learn a particular level of patterns when patterns are presented across multiple levels.     

Appreciating art verbally: Verbalization can make a work of art be both undeservedly loved and unjustly maligned

Two experiments examined whether appreciating art verbally would aesthetically confuse viewers. Participants were asked to verbalize why they either liked or disliked two different kinds of paintings; one piece was representational, the other piece was abstract. Those who verbalized their reasons for liking the artworks were more likely to prefer the representational painting, whereas those who verbalized their reasons for disliking the paintings were also more likely to dislike the representational painting. While it was easy to describe reasons for both liking and disliking representational art, the same proved difficult for abstract art. The findings suggest that due to its figurative qualities people will be encouraged to generate reasons to describe representational art, rather than abstract art, and that these reasons could potentially be biased and cause them to change their preferences in line with these reasons.     

Paleolithic art and cognition.

In this article, I have explored some of the possible relationships between the first appearance of representational art in human history and the early development of human cognition. I argue that most Upper Paleolithic depictions directly represent generalized mental images of their animal subjects rather than percepts or recollected scenes from life and that these images, in turn, are representations of concepts at the basic level of categorization. A common feature of Paleolithic art forms is the salience of parts, and the treatment of parts indicates analytic and synthetic (recombinative) abilities. There are some indications of superordinate categorization. An expansion of conceptual thinking seems to be implied as well as the beginnings of operational thought. The presence and practice of depiction may have had the effect of bringing concepts into consciousness and thus inducing reflection in at least a partially abstract mode.     

The role of higher order image statistics in masking scene gist recognition

In the present article, we investigated whether higher order image statistics, which are known to be carried by the Fourier phase spectrum, are sufficient to affect scene gist recognition. In Experiment 1, we compared the scene gist masking strength of four masking image types that varied in their degrees of second- and higher order relationships: normal scene images, scene textures, phase-randomized scene images, and white noise. Masking effects were the largest for masking images that possessed significant higher order image statistics (scene images and scene textures) as compared with masking images that did not (phase-randomized scenes and white noise), with scene image masks yielding the largest masking effects. In a control study, we eliminated all differences in the second-order statistics of the masks, while maintaining differences in their higher order statistics by comparing masking by scene textures rather than by their phase-randomized versions, and showed that the former produced significantly stronger gist masking. Experiments 2 and 3 were designed to test whether conceptual masking could account for the differences in the strength of the scene texture and phase-randomized masks used in Experiment 1, and revealed that the recognizability of scene texture masks explained just 1% of their masking variance. Together, the results suggest that (1) masks containing the higher order statistical structure of scenes are more effective at masking scene gist processing than are masks lacking such structure, and (2) much of the disruption of scene gist recognition that one might be tempted to attribute to conceptual masking is due to spatial masking.     

Influential Factors in Artist's Lives and Themes in Their Artwork

ABSTRACT: The purpose of this study was to investigate the relations among influential factors in artists' lives, the process of creativity, and themes in the resulting artwork. Both qualitative and quantitative methods were used. In Phase I of the research, 6 contemporary artists identified themes, influences, feelings, thoughts, and representations about 5 pieces of their own art. They also completed a 50-item survey about influential factors. Two judges also were asked to identify themes, influences, feelings, thoughts, and representations in Phase 2 of the research. The judges relied on 30 slides depicting the work of the 6 artists. The same 50-item survey concerning influential factors was completed by each of the judges while examining the slides a 2nd time. Hypothesis 1, which predicted that artists would articulate the events, experiences, and memories that have influenced their lives, was supported. Hypothesis 2, which predicted that artists would be aware of the relations between influential factors in their lives and specific themes, images, expressions, and representations in their paintings, also was supported. Hypothesis 3, which predicted that potentially influential factors would be communicated in the themes, images, expressions, and representations in artists' paintings, and that objective viewers can identify them, was supported partially. The judges responded similarly to at least 2 of the 5 pieces of art for each participant. Hypothesis 4, which predicted that influential themes would be similar across all participants ' paintings, also was supported partially. One hundred percent agreement was found for the strongest influences (e.g., loss and culture) when the men and the women were evaluated separately.     

Influence of scale and orientation on the visual perception of natural scenes

It is well known that the distribution of spatial content with respect to spatial scale in real-world scenes falls in accordance with a 1/ f α relation. Equally well known is the tendency for an orientation bias in scene content with the predominant bias in content at the horizontal and vertical orientations. This has led to the suggestion of a relationship in which the mechanisms of the human visual system are optimized for processing such regularities. Here we review current literature concerning the measurement of these regularities (via Fourier analysis) of natural scenes in the context of other work that has psychophysically assessed the extent to which visual perception exploits such regularities of spatial content. In addition, 2 psychophysical experiments are presented that extend this literature and argue for the importance of these regularities in perceiving orientation in real-world visual stimuli.     

Pigeons can discriminate “good” and “bad” paintings by children

Humans have the unique ability to create art, but non-human animals may be able to discriminate “good” art from “bad” art. In this study, I investigated whether pigeons could be trained to discriminate between paintings that had been judged by humans as either “bad” or “good”. To do this, adult human observers first classified several children’s paintings as either “good” (beautiful) or “bad” (ugly). Using operant conditioning procedures, pigeons were then reinforced for pecking at “good” paintings. After the pigeons learned the discrimination task, they were presented with novel pictures of both “good” and “bad” children’s paintings to test whether they had successfully learned to discriminate between these two stimulus categories. The results showed that pigeons could discriminate novel “good” and “bad” paintings. Then, to determine which cues the subjects used for the discrimination, I conducted tests of the stimuli when the paintings were of reduced size or grayscale. In addition, I tested their ability to discriminate when the painting stimuli were mosaic and partial occluded. The pigeons maintained discrimination performance when the paintings were reduced in size. However, discrimination performance decreased when stimuli were presented as grayscale images or when a mosaic effect was applied to the original stimuli in order to disrupt spatial frequency. Thus, the pigeons used both color and pattern cues for their discrimination. The partial occlusion did not disrupt the discriminative behavior suggesting that the pigeons did not attend to particular parts, namely upper, lower, left or right half, of the paintings. These results suggest that the pigeons are capable of learning the concept of a stimulus class that humans name “good” pictures. The second experiment showed that pigeons learned to discriminate watercolor paintings from pastel paintings. The subjects showed generalization to novel paintings. Then, as the first experiment, size reduction test, grayscale test, mosaic processing test and partial occlusion test were carried out. The results suggest that the pigeons used both color and pattern cues for the discrimination and show that non-human animals, such as pigeons, can be trained to discriminate abstract visual stimuli, such as pictures and may also have the ability to learn the concept of “beauty” as defined by humans.     

The Correlational Structure of Natural Images and the Calibration of Spatial Representations

Physiologists have long proposed that correlated input activity is important in normal sensory development. Here it is postulated that the visual system is sensitive to the correlation in image intensity across the visual field, and that these correlations are used to help calibrate spatial representations. Since measurements made near to each other in the visual field are more correlated than measurements made at a distance, the degree of correlation can be used as an estimate of the distance between two measurements and can therefore be used to calibrate a roughly organized spatial representation. We therefore explored the hypothesis that low level spatial representations are calibrated using a signal based on image intensity correlation. If the visual system uses input statistics to calibrate its spatial representation, then any distortions and anisotropies in these input statistics should be mirrored by distortions in the representation of space. To test the psychological implications of this hypothesis, a collection of 81 images of open and urban landscapes were used to estimate the degree of correlation between image intensity measurement pairs as a function of both distance and orientation. Doing this we show that a system that used the statistics measured to calibrate its representation would show: (1) a horizontal-vertical illusion;(2) the magnitude of this illusion would depend on the amount of open and urban landscapes in the environment;(3) there would be a nontrivial relationship between line orientation and judged length. Analogues of all these distortions and regularities can be found in the psychophysical literature on distance estimation. This gives strength to the proposal that spatial representations are calibrated using input statistics.     

Do Humans and Deep Convolutional Neural Networks Use Visual Information Similarly for the Categorization of Natural Scenes?

The investigation of visual categorization has recently been aided by the introduction of deep convolutional neural networks (CNNs), which achieve unprecedented accuracy in picture classification after extensive training. Even if the architecture of CNNs is inspired by the organization of the visual brain, the similarity between CNN and human visual processing remains unclear. Here, we investigated this issue by engaging humans and CNNs in a two-class visual categorization task. To this end, pictures containing animals or vehicles were modified to contain only low/high spatial frequency (HSF) information, or were scrambled in the phase of the spatial frequency spectrum. For all types of degradation, accuracy increased as degradation was reduced for both humans and CNNs; however, the thresholds for accurate categorization varied between humans and CNNs. More remarkable differences were observed for HSF information compared to the other two types of degradation, both in terms of overall accuracy and image-level agreement between humans and CNNs. The difficulty with which the CNNs were shown to categorize high-passed natural scenes was reduced by picture whitening, a procedure which is inspired by how visual systems process natural images. The results are discussed concerning the adaptation to regularities in the visual environment (scene statistics); if the visual characteristics of the environment are not learned by CNNs, their visual categorization may depend only on a subset of the visual information on which humans rely, for example, on low spatial frequency information.     

中国画审美一致性的专业知识效应:一项fNIRS研究

摘 要 本研究结合fNIRS技术,考察了美术训练学生和普通学生在中国画审美一致性上的差异。行为上,虽然两组被试在审美评分上没有显著差异,但在评分一致性上,美术训练学生相比普通学生在“好看”评分上更一致。脑活动上,美术训练学生右侧颞顶联合区的16通道和24通道的神经活动一致性显著高于普通学生,且美术训练学生的神经活动一致性与“好看”评分呈负相关。本研究揭示了艺术专业知识对中国画审美的重要性,且神经活动一致性可作为中国画审美判断的一项潜在神经标记。     

Object detection in natural scenes: Independent effects of spatial and category-based attention

Humans are remarkably efficient in detecting highly familiar object categories in natural scenes, with evidence suggesting that such object detection can be performed in the (near) absence of attention. Here we systematically explored the influences of both spatial attention and category-based attention on the accuracy of object detection in natural scenes. Manipulating both types of attention additionally allowed for addressing how these factors interact: whether the requirement for spatial attention depends on the extent to which observers are prepared to detect a specific object category—that is, on category-based attention. The results showed that the detection of targets from one category (animals or vehicles) was better than the detection of targets from two categories (animals and vehicles), demonstrating the beneficial effect of category-based attention. This effect did not depend on the semantic congruency of the target object and the background scene, indicating that observers attended to visual features diagnostic of the foreground target objects from the cued category. Importantly, in three experiments the detection of objects in scenes presented in the periphery was significantly impaired when observers simultaneously performed an attentionally demanding task at fixation, showing that spatial attention affects natural scene perception. In all experiments, the effects of category-based attention and spatial attention on object detection performance were additive rather than interactive. Finally, neither spatial nor category-based attention influenced metacognitive ability for object detection performance. These findings demonstrate that efficient object detection in natural scenes is independently facilitated by spatial and category-based attention.