Domain specificity and mental chronometry in empirical aesthetics

This article is a commentary on ‘Ten years of a model of aesthetic appreciation and aesthetic judgments: The aesthetic episode – developments and challenges in empirical aesthetics’ (Leder & Nadal, 2014, this issue). It focuses on domain specificity and mental chronometry in empirical aesthetics.     

The Relationship Between Visual Illusion and Aesthetic Preference – an Attempt to Unify Experimental Phenomenology and Empirical Aesthetics

Experimental phenomenology has demonstrated that perception is much richer than stimulus. As is seen in color perception, one and the same stimulus provides more than several modes of appearance or perceptual dimensions. Similarly, there are various perceptual dimensions in form perception. Even a simple geometrical figure inducing visual illusion gives not only perceptual impressions of size, shape, slant, depth, and orientation, but also affective or aesthetic impressions. The present study reviews our experimental phenomenological work on visual illusion and experimental aesthetics, and examines how aesthetic preference is influenced by stimulus factors determining visual illusions including anomalous surface and transparency as well as geometrical illusion. Along with line figures producing geometrical illusions, illusory surface figures inducing neon color spreading and transparency effects were used as test patterns. Participants made both of psychophysical judgments and of aesthetic judgments for the same test pattern. Both of geometrical illusions and aesthetic preferences were found to change similarly as a function of stimulus variables such as the number of filling lines and the size ratio of the inner and outer figural components. Also, following specific stimulus variables such as lightness contrast ratio and spatial interval between inducing figural elements (so called ``packmen''), strong effects of color spreading and transparency were accompanied with strong preferences. It seems that the paradigm to investigate aesthetic phenomena along with perceptual dimensions is useful to bridge the gap between experimental phenomenology and experimental aesthetics.     

A model of aesthetic appreciation and aesthetic judgments

Although aesthetic experiences are frequent in modern life, there is as of yet no scientifically comprehensive theory that explains what psychologically constitutes such experiences. These experiences are particularly interesting because of their hedonic properties and the possibility to provide self‐rewarding cognitive operations. We shall explain why modern art's large number of individualized styles, innovativeness and conceptuality offer positive aesthetic experiences. Moreover, the challenge of art is mainly driven by a need for understanding. Cognitive challenges of both abstract art and other conceptual, complex and multidimensional stimuli require an extension of previous approaches to empirical aesthetics. We present an information‐processing stage model of aesthetic processing. According to the model, aesthetic experiences involve five stages: perception, explicit classification, implicit classification, cognitive mastering and evaluation. The model differentiates between aesthetic emotion and aesthetic judgments as two types of output.     

Interaction between creation and appreciation: How linguistic art creation impacts the aesthetic evaluation of haiku poetry and ink paintings

In the psychology of aesthetics, compared with appreciation, there are fewer studies on art creation. This study aims to examine the influence of art creation on appreciation using haiku poetry with reference to the Mirror Model—a process model combining creation and appreciation. Although the model has been primarily used to examine visual arts, we examine its applicability to linguistic arts. In addition, we use ink painting to examine whether a generalisation across artistic genres can occur. The 115 participants were divided into two conditions—creation and control. The former created haiku before and after appreciation, while the latter did not create any haiku. The results showed no improvement in evaluation through creation. Additionally, recognising the difficulty related to creation leads to aesthetic evaluation, and this relationship is mediated by awe. These results expand the existing information regarding the Mirror Model in terms of the different art genres.     

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.     

Expressivist to the core: Metaaesthetic subjectivism is stable and robust

Two common observations about aesthetics are in tension: that people generally consider aesthetic judgments subjective, and that people generally behave like objectivists (arguing over judgments, making choices based on judgments of trusted critics, rejecting strong assertions of aesthetic equivalence). This tension would be resolved if the first observation turned out to be false—if people endorsed subjectivism weakly, flexibly, or rarely. We tested whether people can be pushed to endorse objectivism under certain circumstances. Across a large sample (N = 588), aesthetic subjectivism proved consistent and robust to experimental manipulations. Even judgments that reflected participants' own evaluations of artworks were considered just as subjective as judgments directly opposed to their personal evaluations. We conclude that the apparent tension can be explained by the philosophical position of expressivism and discuss expressivism's prospects as a framework for understanding aesthetic judgment.     

Verbal responses of male college students to human figure paintings varying in collative properties, perceived sexuality, and perceived aggression

20 male undergraduates rated 60 human figure paintings on verbal scales to index collative variability (e.g., simple-complex), perceived sexuality, and perceived aggression in the stimuli. Regression equations were used to predict epistemic (interest) and diversive (pleasingness) responses to the paintings. Collative variability predicted diversive but not epistemic appreciation. Perceived aggression was the strongest predictor for both types of aesthetic reaction. Perceived sexuality was most strongly related to diversive appreciation. Both linear and nonlinear functions emerged and these were discussed in terms of consistency with Berlyne's 1971 theory of aesthetics.     

Using an AI creativity system to explore how aesthetic experiences are processed along the brain’s perceptual neural pathways

With the increased sophistication of AI techniques, the application of these systems has been expanding to ever newer fields. Increasingly, these systems are being used in modeling of human aesthetics and creativity, e.g. how humans create artworks and design products. Our lab has developed one such AI creativity deep learning system that can be used to create artworks in the form of images and videos. In this paper, we describe this system and its use in studying the human visual system and the formation of aesthetic experiences. Specifically, we show how time-based AI created media can be used to explore the nature of the dual-pathway neuro-architecture of the human visual system and how this relates to higher cognitive judgments such as aesthetic experiences that rely on these divergent information streams. We propose a theoretical framework for how the movement within percepts such as video clips, causes the engagement of reflexive attention and a subsequent focus on visual information that are primarily processed via the dorsal stream, thereby modulating aesthetic experiences that rely on information relayed via the ventral stream. We outline our recent study in support of our proposed framework, which serves as the first study that investigates the relationship between the two visual streams and aesthetic experiences.     

Buddhism and bell hooks: Liberatory Aesthetics and the Radical Subjectivity of No‐Self

This article engages bell hooks's concept of “radical black subjectivity” through the lens of the Buddhist doctrine of no‐self. Relying on the Zen theorist Dōgen and on resources from Japanese aesthetics, I argue that non‐attachment to the self clarifies hooks's claim that radical subjectivity unites our capacity for critical resistance with our capacity to appreciate beauty. I frame this argument in terms of hooks's concern that postmodernist identity critiques dismiss the identity claims of disempowered peoples. On the one hand, identity critique has an emotional component, as it involves questioning the self and possibly letting go of aspects of that self in which a person has inevitably made emotional investments. On the other hand, it has an aesthetic component, as it opens a space for the creative crafting and recrafting of identity. Japanese aesthetics emphasizes that all aesthetic appreciation is accompanied by feelings of mournfulness, for the object of aesthetic appreciation is transient. Linking hooks's liberatory aesthetics with the resources of the Japanese tradition suggests that mournfulness in the face of self‐loss necessarily accompanies all instances of critical resistance. Thus non‐attachment becomes a useful framework in which to understand both the emotional and aesthetic components of empowered identity critique.     

The malleable bicultural consumer: effects of cultural contexts on aesthetic judgments

• Grounded in the cognitive framework of processing fluency, this study proposes further support for the experiential perspective in aesthetics by positing that aesthetic response to the same object may be malleable, depending on how the symbolic properties of the object interact with different cultural contexts which either facilitate or debilitate the processing experience of the perceiver. The study employed an Internet experiment to test the hypotheses among 105 female Hispanic college‐aged students enrolled at a large midwestern university. The findings revealed that symbolic attributes of products interact with cultural contexts to affect aesthetic judgments of (Hispanic) consumers. Aesthetic judgments were more positive when evaluating culturally symbolic product attributes after exposure to congruent contextual cues that facilitate fluent processing. The study furnishes support for the impact of environment/context on consumer behavior and aesthetic judgment, thus establishing further support for the cognitive framework of conceptual fluency in explaining aesthetic response. The study also contributes to recent literature on “frame‐switching” among bicultural consumers by suggesting that these consumers navigate between competing cultural frames in response to visual primes, with resultant shifts in aesthetic judgments. Important marketing insights emerge from these findings.

Copyright © 2009 John Wiley & Sons, Ltd.     

Taste and Acquaintance

The analogy between gustatory taste and critical or aesthetic taste plays a recurring role in the history of aesthetics. Our interest in this article is in a particular way in which gustatory judgments are frequently thought to be analogous to critical judgments. It appears obvious to many that to know how a particular object tastes we must have tasted it for ourselves; the proof of the pudding, we are all told, is in the eating. And it has seemed just as obvious to many philosophers that aesthetic judgment requires first‐person experience. In this article we argue that, despite its initial appeal, the claim that gustatory and critical judgments are analogous in this way is mistaken. The two sorts of judgments are, as a matter of fact, similar in their epistemology, but earlier theorists have got things entirely backward—neither gustatory judgment nor aesthetic judgment requires first‐hand acquaintance with their objects. Our particular focus in this article is on arguing that first‐person experience is not required to know how an item of food or drink tastes. In fact, there are a wide variety of ways in which we can acquire this knowledge.     

An oblique effect in aesthetics: homage to Mondrian (1872-1944)

The effect of the orientation of Mondrian's paintings on their aesthetic appeal was examined. Eight paintings, four with horizontal/vertical frames in the original and four with oblique frames, were presented in eight different orientations and rated for aesthetic appeal on a 7-point scale. There was a stronger preference for pictures presented so that their component lines were horizontal and vertical than for pictures presented with their component lines in an oblique orientation. In addition, subjects showed a preference for the original orientation, perhaps because rotation changes the lateral balance of the paintings as well as the orientation of the component lines. There was no overall preference for one frame orientation over another, but there was an interaction between frame orientation and component orientation, resulting in a preference for paintings where the components were parallel to the surrounding frame. It is suggested that the aesthetic oblique effect reported here is related to the oblique effect in orientation perception and the privileged access which horizontal and vertical lines have to the visual system. This offers a possible mechanism for aesthetic judgments of abstract patterns: we find pleasing those stimuli which are closely tuned to the properties of the human visual system.     

Multisensory numerosity judgments for visual and tactile stimuli

To date, numerosity judgments have been studied only under conditions of unimodal stimulus presentation. It is therefore unclear whether the same limitations on correctly reporting the number of unimodal visual or tactile stimuli presented in a display might be expected under conditions in which participants have to count stimuli presented simultaneously in two or more different sensory modalities. In Experiment 1, we investigated numerosity judgments using both unimodal and bimodal displays consisting of one to six vibrotactile stimuli (presented over the body surface) and one to six visual stimuli (seen on the body via mirror reflection). Participants had to count the number of stimuli regardless of their modality of presentation. Bimodal numerosity judgments were significantly less accurate than predicted on the basis of an independent modality-specific resources account, thus showing that numerosity judgments might rely on a unitary amodal system instead. The results of a second experiment demonstrated that divided attention costs could not account for the poor performance in the bimodal conditions of Experiment 1. We discuss these results in relation to current theories of cross-modal integration and to the cognitive resources and/or common higher order spatial representations possibly accessed by both visual and tactile stimuli.     

论《周易》之“观”的审美特征

"观"在《周易》中占有重要地位,它不仅是一种认识活动,更是一种审美活动。在艺术上,观物取象的思维方式和仰观俯察的审美观照方式对艺术欣赏和创作影响深远,同时又是一种道德完善和理想人格的修养过程。另外,在"观"中还体现了尽善尽美、天人合一的理想境界。这些都对中国美学产生了深远的影响。     

Toward an integrative approach of cognitive neuroscientific and evolutionary psychological studies of art

This paper examines explanations for human artistic behavior in two reductionist research programs, cognitive neuroscience and evolutionary psychology. Despite their different methodological outlooks, both approaches converge on an explanation of art production and appreciation as byproducts of normal perceptual and motivational cognitive skills that evolved in response to problems originally not related to art, such as the discrimination of salient visual stimuli and speech sounds. The explanatory power of this reductionist framework does not obviate the need for higher-level accounts of art from the humanities, such as aesthetics, art history or anthropology of art.     

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.     

On the interplay of visuospatial and audiotemporal dominance: Evidence from a multimodal kappa effect

When participants judge multimodal audiovisual stimuli, the auditory information strongly dominates temporal judgments, whereas the visual information dominates spatial judgments. However, temporal judgments are not independent of spatial features. For example, in the kappa effect, the time interval between two marker stimuli appears longer when they originate from spatially distant sources rather than from the same source. We investigated the kappa effect for auditory markers presented with accompanying irrelevant visual stimuli. The spatial sources of the markers were varied such that they were either congruent or incongruent across modalities. In two experiments, we demonstrated that the spatial layout of the visual stimuli affected perceived auditory interval duration. This effect occurred although the visual stimuli were designated to be task-irrelevant for the duration reproduction task in Experiment 1, and even when the visual stimuli did not contain sufficient temporal information to perform a two-interval comparison task in Experiment 2. We conclude that the visual and auditory marker stimuli were integrated into a combined multisensory percept containing temporal as well as task-irrelevant spatial aspects of the stimulation. Through this multisensory integration process, visuospatial information affected even temporal judgments, which are typically dominated by the auditory modality.