An empirical investigation of the visual rightness theory of picture perception

This research subjected the visual rightness theory of picture perception to experimental scrutiny. It investigated the ability of adults untrained in the visual arts to discriminate between reproductions of original abstract and representational paintings by renowned artists from two experimentally manipulated less well-organized versions of each art stimulus. Perturbed stimuli contained either minor or major disruptions in the originals' principal structural networks. It was found that participants were significantly more successful in discriminating between originals and their highly altered, but not slightly altered, perturbation than expected by chance. Accuracy of detection was found to be a function of style of painting and a viewer's way of thinking about a work as determined from their verbal reactions to it. Specifically, hit rates for originals were highest for abstract works when participants focused on their compositional style and form and highest for representational works when their content and realism were the focus of attention. Findings support the view that visually right (i.e., "good") compositions have efficient structural organizations that are visually salient to viewers who lack formal training in the visual arts.     

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.     

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.     

Learning More About and With the Face–Name Mnemonic Strategy

With the face–name mnemonic strategy, choosing and using ‘prominent’ facial features in interactive images can be difficult. The temptation is to stray from less‐than‐distinctive facial features and instead to associate an individual's name clue with an additional concrete detail (e.g., a headband). To examine this issue, undergraduates viewed face photographs with or without additional details under one of three conditions: own best method, fully imposed mnemonic, and partially imposed mnemonic. Experiment 2 examined a somewhat parallel situation that occurs when applying the strategy to abstract artwork (paintings with less familiar, less concrete elements) versus applying it to representational artwork (paintings with more familiar concrete elements). Our findings suggest that some pictorial stimuli (e.g., facial photos with details; representational paintings) are easier to work with mnemonically than are others (e.g., facial photos by themselves; abstract art). Moreover, in both experiments, mnemonic students displayed performance advantages on both immediate and delayed tests. Copyright © 2014 John Wiley & Sons, Ltd.     

Equivalence class formation as a function of preliminary training with pictorial stimuli

The present experiment investigated the effects of preliminary training with pictorial stimuli on the subsequent formation of three 5‐member equivalence classes (A?B?C?D?E) in 84 university students assigned to seven groups of 12. In the Abstract (ABS) group, all stimuli were abstract shapes. In the Picture (PIC) group, the C stimuli were pictures, and the remaining stimuli were the same abstract shapes as in the ABS group. For the remaining five groups, all stimuli were the same abstract shapes as in the ABS group. However, across groups, preliminary training involved either the establishment of conditional relations with simultaneous (SMTS) or delayed (DMTS) matching‐to‐sample with 0 s, 3 s, 6 s, or 9 s between the abstract C stimuli and the meaningful pictures. For the ABS and the PIC groups, 16.7% and 83.3% of participants formed classes, respectively. Preliminary training with SMTS and DMTS with 0 s, 3 s, and 6 s produced a linear increase in the likelihood of equivalence class formation, 41.7%, 50%, and 75%, respectively. Increasing the duration of delay further from 6 s to 9 s produced a substantial decline, 50%. This experiment extends knowledge about how including meaningful pictures enhances equivalence class formation.     

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.     

Personality and judgements of abstract,pop art,and representational paintings

This study was concerned with the question of which personality variables are most predictive of judgements of particular types of painting. One hundred and twenty‐one participants rated 24 slides of abstract, pop art, and representational paintings. They then completed two questionnaires which measured sensation seeking (SS) and the ‘Big Five’ personality dimensions. Thrill and Adventure Seeking was positively correlated with a liking of representational art while Disinhibition was associated with positive ratings of abstract art and pop art. Neuroticism was positively correlated with positive ratings of abstract and pop art, while conscientiousness was linked to liking of representational art. Openness to Experience was linked to positive ratings of all three art types. Agreeableness was negatively linked to liking of pop art. It was also found that art education and frequency of visits to art galleries were linked to positive ratings of abstract paintings. Regressional analyses showed about a fifth of the variance could be accounted for by personality and demographic variables. Personality variables were most strongly linked to positive judgements of representational art and least related to ratings of pop art. Overall the sensation seeking variables accounted for more of the variance than the big five dimensions. Copyright © 2001 John Wiley & Sons, Ltd.     

Empathy,Einfühlung,and aesthetic experience: the effect of emotion contagion on appreciation of representational and abstract art using fEMG and SCR

Since the advent of the concept of empathy in the scientific literature, it has been hypothesized, although not necessarily empirically verified, that empathic processes are essential to aesthetic experiences of visual art. We tested how the ability to “feel into” (“Einfühlung”) emotional content—a central aspect of art empathy theories—affects the bodily responses to and the subjective judgments of representational and abstract paintings. The ability to feel into was measured by a standardized pre-survey on “emotional contagion”—the ability to pick up and mirror, or in short to “feel into”, emotions, which often overlaps with higher general or interpersonal empathetic abilities. Participants evaluated the artworks on several aesthetic dimensions (liking, valence, moving, and interest), while their bodily reactions indicative of empathetic engagement (facial electromyography—EMG, and skin conductance responses—SCR) were recorded. High compared to low emotion contagion participants showed both more congruent and more intense bodily reactions (EMG and SCR) and aesthetic evaluations (higher being moved, valence, and interest) and also liked the art more. This was largely the case for both representational and abstract art, although stronger with the representational category. Our findings provide tentative evidence for recent arguments by art theorists for a close “empathic” mirroring of emotional content. We discuss this interpretation, as well as a potential tie between emotion contagion and a general increase in emotion intensity, both of which may impact, in tandem, the experience and evaluation of art.     

Effects of a meaningful, a discriminative, and a meaningless stimulus on equivalence class formation

Thirty college students attempted to form three 3-node 5-member equivalence classes under the simultaneous protocol. After concurrent training of AB, BC, CD, and DE relations, all probes used to assess the emergence of symmetrical, transitive, and equivalence relations were presented for two test blocks. When the A-E stimuli were all abstract shapes, none of 10 participants formed classes. When the A, B, D, and E stimuli were abstract shapes and the C stimuli were meaningful pictures, 8 of 10 participants formed classes. This high yield may reflect the expansion of existing classes that consist of the associates of the meaningful stimuli, rather than the formation of the ABCDE classes, per se. When the A-E stimuli were abstract shapes and the C stimuli became S(D)s prior to class formation, 5 out of 10 participants formed classes. Thus, the discriminative functions served by the meaningful stimuli can account for some of the enhancement of class formation produced by the inclusion of a meaningful stimulus as a class member. A sorting task, which provided a secondary measure of class formation, indicated the formation of all three classes when the emergent relations probes indicated the same outcome. In contrast, the sorting test indicated "partial" class formation when the emergent relations test indicated no class formation. Finally, the effects of nodal distance on the relatedness of stimuli in the equivalence classes were not influenced by the functions served by the C stimuli in the equivalence classes.     

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.     

Adult age differences in the perception and learning of artistic style categories

Adult age differences in conceptual behavior were studied using informationally complex stimuli from real-world categories: paintings by two impressionist artists. In Experiment 1 we examined perceptions of category structure by having subjects sort paintings according to style similarity. Young adults were observed to depend more on abstract information in making style judgments, whereas older adults relied more on similarity in content. This resulted in different category structures between age groups, but similarity judgments in both groups appeared to correspond to actual style differences between the two artists. In Experiment 2, learning efficiency was shown to increase with a painting's category centrality, but older adults had particular trouble learning noncentral items. At transfer, both age groups were able to use abstracted central tendency information to categorize new paintings, although young adults appeared to have better access to information about specific category exemplars from acquisition. The results are generally consistent with those from studies using simpler artificial stimuli.     

On the effectiveness of including meaningful pictures in the formation of equivalence classes

In three experiments, 165 adult participants were trained on 12 baseline conditional discriminations and tested for the formation of three 5-member equivalence classes (A➔B➔C➔D➔E). All experiments included two reference groups; the abstract (ABS) group was trained with all abstract stimuli and the picture (PIC) group with C-stimuli as meaningful pictorial stimuli but A, B, D, and E stimuli as abstract shapes. In Experiment 1, the color of the meaningful stimuli was manipulated. In the ABS, PIC, and black-and-white groups, 33.3%, 80%, and 93.3% formed equivalence classes, respectively. In Experiment 2, participants were exposed to a test block with and without trials that included C stimuli. For the groups with and without C trials in the test, 93.3% and 86.7% formed equivalence classes, respectively, compared to 20% in the ABS group. In Experiment 3, the number of meaningful pictures and their location in stimulus classes were manipulated. One group was trained with 3 pictures (C1/B2/D3, the 3-PIC) while the other groups had 2 pictures (C1/B2 and C1/D3, the 2-PIC). In the second test block for the ABS and PIC groups, 6.7% and 86% of the participants formed equivalence classes, respectively. For the 3-PIC and the 2-PIC groups, 66.7% and 50% of the participants formed equivalence classes, respectively. Results suggest that the effects of meaningful stimuli in equivalence classes (a) cannot be attributed to the use of colorful stimuli in previous studies, (b) occur during training and are not dependent on the presence of meaningful stimuli at test, and (c) are sensitive to stimulus location.     

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.     

Picture-object recognition in pigeons: evidence of representational insight in a visual categorization task using a complementary information procedure

Success in tasks requiring categorization of pictorial stimuli does not prove that a subject understands what the pictures stand for. The ability to achieve representational insight is by no means a trivial one because it exceeds mere detection of 2-D features present in both the pictorial images and their referents. So far, evidence for such an ability in nonhuman species is weak and inconclusive. Here, the authors report evidence of representational insight in pigeons. After being trained on pictures of incomplete human figures, the birds responded significantly more to pictures of the previously missing parts than to nonrepresentative stimuli, which demonstrates that they actually recognized the pictures' representational content.     

Concrete and abstract thinking styles and art preferences in a sample of serious art collectors

59 art collectors (30 men, 29 women) were given the Gregorc Style Delineator to classify them by thinking styles and a questionnaire regarding their art preferences. Their ages ranged from 33 to 99 years (M=59.5 yr.). Abstract art was preferred by 34% of the sample. Representational art, such as Dutch Masters and Impressionism, was preferred by 66% of the sample. Of the collectors who preferred nonobjective abstract paintings, such as works by color field artists like Mark Rothko, and Abstract Expressionist paintings, such as works by Jackson Pollock, 62% had scores on the Gregorc Style Delineator by which they were classified as showing abstract thinking styles. Of the collectors who preferred representational painting, 86% were classified as showing concrete thinking styles.     

Novice Strategies for Understanding Paintings

Visual analysis is taught in art history classes as a skill which aids a student in understanding a work of art in its appropriate conceptual or historical context. To provide a foundation for the design of computer-based lessons to train students in the skill, this study attempted to discover the strategies that novices employ when viewing a set of paintings. Verbal protocols obtained from novices in this study indicated that they described semantic features, or content, of paintings more than the formal elements, e. g. line, colour, shape, when viewing realist paintings. However, when presented with abstract, i. e. less semantically accessible paintings, novices shaply altered their approach and discussed formal elements over content. These findings suggest that an analysis of formal elements is not performed by a novice when a painting depicts a clear subject, but is attempted when the subject-matter becomes obscure. This implies that, at some level, novices realize that the meaning of a painting can be extracted from attention to the formal elements. Interestingly, novice protocols contained the same categories of strategies deemed important by experts. The lack of training in visual analysis was not notably manifest with respect to style. Of all formal dimensions, this one yielded the greatest discrepancy between novices and the expectations of instructors.     

Style and spectral power: processing of abstract and representational art in artists and non-artists

We investigated cortical activity in response to abstract and representational paintings in artists and non-artists. Participants engaged in visual inspection of works of art and recalled them immediately afterwards through mental imagery. Meanwhile, we recorded their EEG, and calculated the power of their alpha band and theta band activity afterwards. In accordance with previous studies, theta band and alpha band power differed between artists and non-artists; these differences were found to depend, however, on the abstract or representational character of the paintings. Differences between abstract and representational art, and between inspection and imagery, occurred in alpha band power for non-artists only and in theta band power for artists. These results were taken to suggest that effects in artists reflect sustained focused attention and perceptual flexibility; in non-artists motivation and engagement with the task. The results were essentially whole-head, despite the local character of the measurement.     

Style follows content: on the microgenesis of art perception

Despite fruitful research in experimental aesthetics, the dynamics of aesthetics, i.e., the processes involved in art perception, have received little attention. Concerning representational art, two aspects seem most important in this respect: style and content. In two experiments, we examined the dynamics of processing of style and content by means of the microgenetic approach. This approach systematically varies perceptual conditions to find out about the stages involved in the formation of percepts – their microgenesis. Participants gave similarity ratings for pairs of pictures that were fully crossed in style (artist) and content (motif). Presentation times were systematically varied between 10, 50, 202 and 3000 ms (Experiment 1) plus unlimited presentation time (Experiment 2). While effects of content were present at all presentation times, effects of style were traceable from 50 ms onwards. The results show clear differences in the microgenesis of style and content, suggesting that in art perception style follows content.     

Recognizing images: The role of motivational significance,complexity, social content,age, and gender

Memory for affective events plays an important role in determining people’s behavior and well-being. Its determinants are far from being completely understood. We investigated how recognition memory for affective pictures depends on pictures’ motivational significance (valence and arousal), complexity (figure-ground compositions vs. scenes), and social content (pictures with people vs. without people) and on observers’ age and gender. Younger, middle-aged, and older adults viewed 84 pictures depicting real-life situations. After a break, the participants viewed 72 pictures, half of which had been viewed previously and half of which were novel, and were asked to endorse whether each picture was novel or had been presented previously. Hits, false alarms, and overall performance (discrimination accuracy) were our dependent variables. The main findings were that, across participants, recognition memory was better for unpleasant than pleasant pictures and for pictures depicting people than pictures without people. Low-arousal pictures were more accurately recognized than high-arousal pictures, and this effect was significantly larger among middle-aged and older adults than younger adults. Recognition memory worsened across adulthood, and this decline was steeper among men than women. Middle-aged and older women outperformed their male counterparts. This study suggests that how well we are able to successfully discriminate previously seen pictorial stimuli from novel stimuli depends on several pictures’ properties related to their motivational significance and content, and on observer’s age and gender.