Aesthetic interaction as fit between interaction attributes and experiential qualities

Designing an aesthetic interaction is an important issue for Interaction Design (ID) and Human-Computer Interaction (HCI). While a number of frameworks exist, the experimental study of potential underlying principles remains rare. In this paper, we suggest that particular interaction attributes (e.g., “fast”) are systematically related to particular experiential qualities (e.g., “feeling competent”) and that interaction “feels better” if interaction matches the intended experience. A laboratory study (N = 32) explores this notion by testing two different ways of interacting within the same activity (opening a wine bottle) in two different experiential scenarios (focusing on relatedness, focusing on competence). Two corkscrews with different interaction profiles were used: one assumed to support a feeling of competence and the other to support relatedness. As expected, we found systematic shifts in preferences for specific corkscrews, differences in affective experience and in the relationships between interaction attributes and experiential qualities depending on the fit of interaction to the experience.     

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

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

What emotional reactions can tell us about the nature of others: An appraisal perspective on person perception

The present research aimed to assess how people use knowledge about the emotional reactions of others to make inferences about their character. Specifically, we postulate that people can reconstruct or “reverse engineer” the appraisals underlying an emotional reaction and use this appraisal information to draw person perception inferences. As predicted, a person who reacted with anger to blame was perceived as more aggressive, and self-confident, but also as less warm and gentle than a person who reacted with sadness (Study 1). A person who reacted with a smile (Study 1) or remained neutral (Study 2) was perceived as self-confident but also as unemotional. These perceptions were mediated by perceived appraisals.     

Beyond neurophenomenology: A review of Colombetti's The Feeling Body

I review The Feeling Body: Affective Science Meets the Enactive Mind by Giovanna Colombetti (Cambridge, Massachusetts: MIT Press, 2014, 288 pages, $40.00 hardcover). In this book Colombetti draws on the enactive theory of organismic embodiment and its key concept of sense-making in order to critically evaluate various aspects of mainstream affective science, including basic emotions and alternative constructionist approaches, as well as the cognitivist approach to emotion and appraisal theory. She defends and develops a dynamical systems approach to emotions and emphasizes the need for including more first-person methods of consciousness science in mainstream affective neuroscience. These are valuable contributions to affective science, and they also advance enactive theory. Colombetti's proposal goes further than standard neurophenomenology in that she appeals to the bodily basis of feeling, thereby requiring a new sort of neuro-physio-phenomenology. Even more radically, she allows that all living beings are essentially affective beings, even those without a nervous system, and that emotional forms could be co-constituted by more than one person.     

Aesthetics as evaluative forms of agency to perceive and design reality: A reply to aesthetic realism

Following a naturalist-realist point of view, this paper attempts to contribute to the metaphysical question of whether or not reality includes aesthetics. During evolution, cognitive agents have constructed (goal-directed) regulatory abilities forming anticipatory contents in the form of feelings regarding opportunities for interaction. These feelings are considered to be the fundamental part of an evaluative or (what in this paper considered as aesthetic) behavior through which agents show a preference to aspects of their external world. Thus, ‘aesthetic’ denotes an agential behavior based on an organization of processes integrated in a form that identifies, evaluates, and compares sources of interaction-success or error in specific aspects of external reality. While agents approach the same aspects of reality as they all interact with the same world, our claim is that aesthetic normativity cannot be an objective feature of this reality. This model overcomes problems of correspondence in the sense that an agent's actions and thoughts ought to react to any pre-given (aesthetic) quality or norm, while at the same time it emphasizes the self-directedness of aesthetic behavior that enables the development of creative forms of cognition.     

Going with your gut: How William James' theory of emotions brings insights to risk perception and decision making research

The basic premise of William James' theory of emotions – that bodily changes lead to emotional feelings – ignited debate about the relative importance of bodily processes and cognitive appraisals in determining emotions. Similarly, theories of risk perception have been expanding to include emotional and physiological processes along with cognitive processes. Taking a closer look at The Principles of Psychology, this article examines how James' propositions support and extend current research on risk perception and decision making. Specifically, James (1) described emotional feelings and their related cognitions in ways similar to current dual processing models; (2) defended the proposition that emotions and their expressions serve useful and adaptive functions; (3) suggested that anticipating an emotion can trigger that emotion due to associations learned from past experiences; and (4) highlighted individual differences in emotional experiences that map on well with individual differences in risk-related decision making.     

Prospective and concurrent correlates of emotion perception in psychotic disorders: A naturalistic,longitudinal study of neurocognition,affective blunting and avolition

This naturalistic study investigated longitudinal and cross‐sectional symptomatic and neurocognitive correlates of social cognition indexed by emotion perception. Participants were 31 persons admitted to a psychiatric emergency ward due to acute psychosis. Positive and negative (i.e., affective blunting and avolition) symptoms were assessed at baseline and 12‐month follow‐up using the Positive and Negative Syndrome Scale. Participants completed neuropsychological assessments with alternative versions of the Repeatable Battery for the Assessment of Neuropsychological Status at baseline and at 12‐month follow‐up. Emotion perception was measured using the Face/Voice Emotion Test at 12‐month follow‐up. Correlational analyses (Spearman's rho) revealed strong and statistically significant associations between neurocognition and emotion perception (baseline r = 0.58, follow‐up r = 0.43). Associations between positive symptoms and emotion perception were weak or non‐existent (baseline r = 0.13, follow‐up r  =  –0.01). Emotion perception was moderately, but not significantly, associated with affective blunting at follow‐up (r = 0.33), but not at baseline (r = 0.21). The association with avolition was non‐existent (baseline r  =  –0.05, follow‐up r = 0.01). This study supports the notion that emotion perception has neurocognitive correlates. The cross‐sectional trend level association with affective blunting suggests that the ability to perceive emotions might be related to, but dissociable from the ability to express emotions.     

From Ode to Sport To Contemporary Aesthetic Categories of Sport: Strength Considered as an Aesthetic Category

The standpoint of this paper is the distinguished Ode to Sport from Pierre de Coubertin, specifically the second part of the elegy, the one concerning beauty. Starting with “O Sport, you are Beauty!”, Pierre de Coubertin mentions, beyond beauty, an assemblage of aesthetic categories such as sublime, abject, balance, proportion, harmony, rhythm and grace. He also mentions strength, power and suppleness. Although the first quoted categories are general categories of aesthetics, it seems quite relevant to emphasize the need of the author to introduce specific categories that fits to body movement and sport, such as strength, power and suppleness. There is no doubt that the first group of categories also fits to sport and body movement, but it equally fits to different forms of art, while strength, power and suppleness can only be literally applied to sport and performing arts.

The purpose of this paper is to analyze strength as an aesthetic category of sport, developing three main arguments: the feeling of achievement and its conservation, the fight against gravity and the multiple forms of strength’s expression.

It is concluded that strength can improve the communicative power of sport and its emotional appeal. In sports such as gymnastics, diving or synchronized swimming, the appreciation of strength exhibited by the athletes communicates to the observer some king of ease and lightness that enhances the aesthetic judgment. In other sports like weightlifting, sumo or rugby, effort and heaviness are stamped on the athlete's faces, what contributes to a sort of communion between the observer and the athlete that can also improve the aesthetic experience.     

Neurobiological foundations of aesthetics and art

A theory of the neurobiological foundations of aesthetics and art is described. This has its roots in emotion, in which what is pleasant or unpleasant, a reward or punisher, is the result of an evolutionary process in which genes define the (pleasant or unpleasant) goals for action. To this is added the operation of the reasoning, syntactic, brain system which evolved to help solve difficult, multistep, problems, and the use of which is encouraged by pleasant feelings when elegant, simple, and hence aesthetic solutions are found that are advantageous because they are parsimonious, and follow Occam's Razor. The combination of these two systems, and the interactions between them, provide an approach to understanding aesthetics that is rooted in evolution and its effects on brain design and function.     

The psychophysics of chasing: A case study in the perception of animacy

Psychologists have long been captivated by the perception of animacy – the fact that even simple moving shapes may appear to engage in animate, intentional, and goal-directed movements. Here we report several new types of studies of a particularly salient form of perceived animacy: chasing, in which one shape (the ‘wolf’) pursues another shape (‘the sheep’). We first demonstrate two new cues to perceived chasing – chasing subtlety (the degree to which the wolf deviates from perfectly ‘heat-seeking’ pursuit) and directionality (whether and how the shapes ‘face’ each other). We then use these cues to show how it is possible to assess the objective accuracy of such percepts, and to distinguish the immediate perception of chasing from those more subtle (but nevertheless real) types of ‘stalking’ that cannot be readily perceived. We also report several methodological advances. Previous studies of the perception of animacy have faced two major challenges: (a) it is difficult to measure perceived animacy with quantitative precision; and (b) task demands make it difficult to distinguish perception from higher-level inferences about animacy. We show how these challenges can be met, at least in our case study of perceived chasing, via tasks based on dynamic visual search (the Find-the-Chase task) and a new type of interactive display (the Don’t-Get-Caught! task).     

A matter of design: Priming context and person perception

A matter of considerable debate is whether people spontaneously use categorical knowledge (i.e., stereotypes) to guide their interactions with others. Despite initial evidence for the unconditional automaticity of category activation, recent research has identified a range of factors that moderate this process. Extending this line of inquiry, the current investigation explored the extent to which contextual influences—specifically the order in which priming stimuli are presented to participants—may modulate person categorization. Using a standard semantic-priming paradigm to index category and stereotype activation, participants were presented with priming stimuli that were either intermixed or blocked by sex. The results revealed that: (i) category and stereotype activation are moderated by the order in which priming stimuli are presented; and (ii) priming effects decrease monotonically as a function of category repetition. The theoretical implications of these findings are considered.     

For an aesthetics of knowing: Twenty conjectures on the responsiveness to connections in science practices

Twenty conjectures are presented, addressing the relationship between aesthetics, knowing, and science practices. The author illustrates the ‘anesthetic’ nature of knowledge and science practices which do not take into account aesthetics, emotions, and social interactions, and presents an alternative perspective drawing on the work of Bateson and others.     

On sensation, perception and thought: A reply to Rönnberg

A traditional partition of cognitive phenomena into sensation, perception and thought is reintroduced in response to recent arguments (Rönnberg, 1990) for conditions that must be met in order to distinguish between perception and cognition. The suggested division seems grossly compatible with Ronnberg's basic aim and receives support from several different lines of inquiry, including single cell recordings in the brain, neurospsychology, computational studies of vision and experimental psychology.     

Risk perception in Poland: A comparison with three other countries

The present study is a cross-cultural comparison of risk perception. A psychometric approach has been followed in order to examine quantitative risk judgments of different hazards and the ratings of these same hazards on various risk-characteristic scales. A list of hazards was used that is comparable with other samples (American, Hungarian, Norwegian), but a certain number of hazards of an entirely different kind were added (e.g. social tensions, shortages of consumer goods) because these are important today for Polish society. In spite of the different list of hazards, the basic factor structure of risk perception turned out to be essentially the same as the structure found in other studies. There was considerable agreement in risk perceptions in the Polish and American samples. We also discovered a number of idiosyncratic qualities of risk perception in Poland, generally indicating the importance of the availability heuristic.     

Parental perception and interpretation of infant emotions: psychological and physiological processes

To study parental experience and perception of infant emotional expressions parents' responses to infant pictures depicting positive, neutral and negative emotions were assessed on the level of affective judgments (perceived and experienced valence and arousal), of mimic responses (facial muscle activity) and of the eyelid reflex (using the startle paradigm). In general, while parents were able to appropriately perceive infant emotions and were clearly affected by them, they exhibited a bias for positive interpretation. This was obvious from their subjective evaluations which, e.g. were more positive for experienced than for perceived valence, as well as from their mimic responses indicating positive responses in general. In addition, infant pictures including the negative ones lead to an inhibition of the startle reflex, indicating a positive evaluation of infant emotions on the sub‐cortical level. These effects were most prominent when parents were faced with pictures of their own infants as compared to unfamiliar ones. The way parents process information about infant emotions may facilitate appropriate responsiveness to infants' needs. Copyright © 2005 John Wiley & Sons, Ltd.     

Categorical perception: effects of the extent and rate of spectral change

ABSTRACT

Two experiments evaluated a potential explanation of categorical perception (CP) for place of articulation – namely, that listeners derive limited information from rapid spectral changes. Experiment 1 examined vowel context effects for /b/–/d/ continua that included consonant–vowel tokens with F2 onset frequencies that varied systematically from the F2 frequencies of their corresponding steady-states. Phoneme categorisation sharply shifted with F2 direction at locations along the continuum where discrimination performance peaked, indicating CP. Experiment 2 compared findings for a replicated condition against conditions with vowels reduced to match consonant duration or consonants extended to match vowels. CP was similarly obtained for replicated and vowel-reduced conditions. However, listeners frequently perceived diphthongs centrally on the consonant-extended continuum. Some listeners demonstrated CP, although aggregate performance appeared more continuous. These experiments indicate a model based upon the perceived direction of frequency transitions.     

Dynamic self- and other-focused emotional intelligence: A theoretical framework and research agenda

This paper introduces a theoretical framework for research on the dynamics of self- and other-focused emotional intelligence (EI). The EI-framework focuses specifically on the interplay between different EI dimensions when individuals are processing their own emotions and the emotions of others. The framework captures different phases of processing self- and other-emotions. The first phase consists of situational cues (e.g., an argument) that elicit interdependent emotions in the self and others. The next phase specifies differential and interacting effects of EI dimensions when processing these emotions, and the third phase describes what proximal and distal consequences this processing may have. In addition, the framework includes candidate dispositional and contextual factors (e.g., emotion type, motivation) that may qualify the process.     

Social cognition in simple action coordination: A case for direct perception

In this paper we sketch the outlines of an account of the kind of social cognition involved in simple action coordination that is based on direct social perception (DSP) rather than recursive mindreading. While we recognize the viability of a mindreading-based account such as e.g. Michael Tomasello’s, we present an alternative DSP account that (i) explains simple action coordination in a less cognitively demanding manner, (ii) is better able to explain flexibility and strategy-switching in coordination and crucially (iii) allows for formal modeling. This account of action coordination is based on the notion of an agent’s field of affordances. Coordination ensues, we argue, when, given a shared intention, the actions of and/or affordances for one agent shape the field of affordances for another agent. This a form of social perception since in particular perceiving affordances for another person involves seeing that person as an agent. It is a form of social perception since it involves perceiving affordances for another person and registering how another person’s actions influence one’s own perceived field of affordances.