Conditioning of appetitive and consummatory sexual behavior in male Japanese quail.

Two different types of stimulus objects, a live female quail artificially adorned with bright orange feathers and an inanimate toy dog, served as conditioned stimuli. For subjects in experimental groups, the conditioned stimuli were presented shortly before access to a sexually receptive normal female quail. For subjects in control groups, exposure to the conditioned stimuli was unpaired with copulatory opportunity. Subjects in the experimental but not in the control groups quickly came to approach the location of the conditioned stimulus objects. When an adorned female quail served as the conditioned stimulus, the conditioned approach behavior was controlled by a combination of the presence of the orange adornments and the visual cues of the head and neck of the female bird, and the approach behavior persisted as the adorned female moved to new locations. When the toy dog served as the conditioned stimulus, the conditioned approach behavior was limited to the spatial cues that surrounded the toy dog during conditioning trials. Although both types of stimulus objects evoked conditioned approach behavior, only the adorned female stimulus supported copulatory behavior. This last finding indicates that copulatory behavior can become redirected toward novel stimuli as a result of conditioning, but only under special circumstances. The results are consistent with the suggestion that appetitive components of reproductive behavior are more susceptible to conditioning than consummatory components. Possible reasons for this are discussed, together with implications of the results for the contribution of conditioning processes to sexual selection.     

We need to move beyond rating scales,white faces and adult perceivers: Invited Commentary on Sutherland & Young (2022), understanding trait impressions from faces

Sutherland and Young's perspective is a timely and rigorous examination of trait impressions based on facial cues. We propose three strtegies to further advance the field: incorporating natural language processing, including diverse facial stimuli, and re-interpreting developmental data.     

Who likes whom? The interaction between perceiver personality and target look

We investigated determinants of liking at zero-acquaintance, focusing on individual differences in perceivers’ reactions to appearance cues. Perceivers (N = 385) viewed portrait photographs of Targets (N = 146). Perceiver’s Agreeableness and Extraversion were uniquely associated with liking targets. Targets who expressed positive emotions, looked relaxed, were physically attractive, and looked healthy and energetic, were the most liked. There were substantial individual differences in how Perceivers were influenced by appearance cues. For instance, Perceivers generally rated targets who displayed non-Duchenne (fake) smiles less favorably than targets who did not smile or targets who displayed Duchenne (authentic) smiles. However, non-Duchenne smiles elicited especially negative ratings from Perceivers high in Neuroticism or Conscientiousness, but not from Perceivers low in Agreeableness.     

神经美学视角的审美愉悦加工机制

审美对象特有的刺激属性会唤起观赏者特定的情绪或情感反应。个体在欣赏自然、艺术品和其他人类作品时会产生审美愉悦体验。审美愉悦-兴趣模型(PIA)认为, 审美愉悦体验包含审美过程中自动化加工阶段的审美愉悦和控制加工阶段的审美兴趣。近年来, 神经美学研究表明, 负责愉悦和奖赏的眶额叶皮层在审美过程中广泛激活, 是自动化加工阶段初级审美愉悦奖赏的神经基础, 而审美过程中纹状体亚回路中不同的连接和功能作用与两个阶段中审美愉悦的产生都有关联; 上述结果支持了审美愉悦-兴趣模型。但审美高峰体验时默认模式网络(DMN)相关脑区的激活和负责控制与理性思维的外侧前额叶皮层等脑区的失活, 提示在PIA模型强调的自动化加工阶段审美愉悦和控制加工阶段审美兴趣之上, 还有整合升华阶段的审美沉浸愉悦, PIA模型需得到进一步的扩展。未来研究应进一步检验审美愉悦认知加工模型及神经机制, 探索审美对创造力的影响机制和神经基础, 探讨不同审美经验愉悦机制的异同。     

Commentary on Corradi et al.’s (2019) new conception of aesthetic sensitivity: Is the ability conception dead?

Corradi et al. (British Journal of Psychology, 2019) argue that their new conception of visual aesthetic sensitivity (as responsiveness to aesthetic features in one’s preferences) presents several advantages in comparison with the current ability view of aesthetic sensitivity, usually defined as the ability to judge aesthetic stimuli in accordance with standards (The Journal of Psychology, 1964, 57 and 49). Although the measure they propose is interesting and presents advances to the field, we point to important issues. Notably, the authors conveniently base their comparison between the two conceptions on psychometric double standards, discard a century of research on aesthetic sensitivity by focusing on Eysenck’s speculations, and disguise an extension of already existing aesthetic preference tests (e.g., The Journal of Psychology, 1952, 33 and 199; Empirical Studies of the Arts, 2005, 23 and 165) as a redefinition of aesthetic sensitivity. We conclude that both aesthetic preference and aesthetic sensitivity research are legitimate objects of study, that the authors present interesting ideas to further the study of aesthetic preferences, but that their approach is not new and that its proposed renaming only adds confusion to the field.     

The Power to Feel Fear and The One to Feel Happiness are the Same

The centre of Adorno's Critical Theory is occupied by the theme of happiness. He speaks of the impaired life, of the unjustness of society, of murderous prejudices, of the atrocities in history, of the dissonance in art, of the unhappy consciousness, because something better can only be described from a point of opposition. Happiness cannot be objectified as possession, it always needs to be experienced subjectively, somatically. (With happiness it is like with truth: One does not have it, one is in it.) Happiness cannot be prescribed and ordered; nothing can be done to guarantee happiness. (Happiness goes beyond doing.) Happiness (like fear) has to do with being open to experience which can overwhelm the self. Sexual and aesthetical experience are models for such overwhelming happiness. The sensation of happiness always is very personal, but in this experience the individual leaves its particularity behind. One has to differentiate between goal and object: Happiness may be a goal, but not it itself, only what obstructs it, can be an object of Critical Theory.     

The Suspended Aesthetic: Slavoj Žižek on Eastern European Film

Slavoj iek's writings on Krzysztof Kies´lowski and Andrej Tarkovskij represent direct challenges to the Central and Eastern European tradition of spiritual art and to dominant aesthetic concepts as such. He refuses to separate the solemn films of Kies´lowski and Tarkovskij from popular culture and stresses their import as ethical statements by their directors. Despite this ethical emphasis, iek makes an important contribution to philosophical aesthetics. He implicitly defines art as a suspension of reality which reveals time in its fragility and potentiality. Defining iek's aesthetics in terms of suspension helps to explain his partiality for Kies´lowski and Tarkovskij and bears comparison to the Russian tradition of philosophical aesthetics, in particular Aleksej Losev and Alexander Bakshy.     

Art as Orientation

What is it that we lack in everyday life that causes us to value art so highly? This article argues that (almost) all values are to be understood in terms of a needs‐satisfaction system, and hence that the value of art can be understood only with reference to the state of the appreciator prior to engagement with the artwork. Aesthetic appreciation can be analysed as a process, which can be described in empirically based psychological terms, leading to a functional view of aesthetic experience as potentially enhancing the individual's orientation at sensory, cognitive, and interpersonal levels; our motivation is a special form of pleasure. Various objections are then considered, with particular attention to the role of pleasure in connection with tragedy; the relation of art to related cultural pursuits is also briefly indicated.