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The relationship between liking and stimulus complexity is commonly reported to follow an inverted U-curve. However, large individual differences among complexity preferences of participants have frequently been observed since the earliest studies on the topic. The common use of across-participant analysis methods that ignore these large individual differences in aesthetic preferences gives an impression of high agreement between individuals. In this study, we collected ratings of liking and perceived complexity from 30 participants for a set of digitally generated grayscale images. In addition, we calculated an objective measure of complexity for each image. Our results reveal that the inverted U-curve relationship between liking and stimulus complexity comes about as the combination of different individual liking functions. Specifically, after automatically clustering the participants based on their liking ratings, we determined that one group of participants in our sample had increasingly lower liking ratings for increasingly more complex stimuli, while a second group of participants had increasingly higher liking ratings for increasingly more complex stimuli. Based on our findings, we call for a focus on the individual differences in aesthetic preferences, adoption of alternative analysis methods that would account for these differences and a re-evaluation of established rules of human aesthetic preferences.

Photographic cropping is the act of selecting part of a photograph to enhance its aesthetic appearance or visual impact. It is common practice with both professional (expert) and amateur (non-expert) photographers. In a psychometric study, McManus et al. (2011b) showed that participants cropped photographs confidently and reliably. Experts tended to select details from a wider range of positions than non-experts, but other croppers did not generally prefer details that were selected by experts. It remained unclear, however, on what grounds participants selected particular details from a photograph while avoiding other details. One of the factors contributing to cropping decision may be visual saliency. Indeed, various saliency-based computer algorithms are available for the automatic cropping of photographs. However, careful experimental studies on the relation between saliency and cropping are lacking to date. In the present study, we re-analyzed the data from the studies by McManus et al. (2011a,b), focusing on statistical image properties. We calculated saliency-based measures for details selected and details avoided during cropping. As expected, we found that selected details contain regions of higher saliency than avoided details on average. Moreover, the saliency center-of-mass was closer to the geometrical center in selected details than in avoided details. Results were confirmed in an eye tracking study with the same dataset of images. Interestingly, the observed regularities in cropping behavior were less pronounced for experts than for non-experts. In summary, our results suggest that, during cropping, participants tend to select salient regions and place them in an image composition that is well-balanced with respect to the distribution of saliency. Our study contributes to the knowledge of perceptual bottom-up features that are germane to aesthetic decisions in photography and their variability in non-experts and experts.

Movement perception and its role in aesthetic experience have been often studied, within empirical aesthetics, in relation to the human body. No such specificity has been defined in neuroimaging studies with respect to contents lacking a human form. The aim of this work was to explore, through functional magnetic imaging (fMRI), how perceived movement is processed during the aesthetic judgment of paintings using two types of content: human subjects and scenes of nature. Participants, untutored in the arts, were shown the stimuli and asked to make aesthetic judgments. Additionally, they were instructed to observe the paintings and to rate their perceived movement in separate blocks. Observation highlighted spontaneous processes associated with aesthetic experience, whereas movement judgment outlined activations specifically related to movement processing. The ratings recorded during aesthetic judgment revealed that nature scenes received higher scored than human content paintings. The imaging data showed similar activation, relative to baseline, for all stimuli in the three tasks, including activation of occipito-temporal areas, posterior parietal and premotor cortices. Contrast analyses within aesthetic judgment task showed that human content activated, relative to nature, precuneus, fusiform gyrus and posterior temporal areas, whose activation was prominent for dynamic human paintings. In contrast, nature scenes activated, relative to human stimuli, occipital and posterior parietal cortex/precuneus, involved in visuospatial exploration and pragmatic coding of movement, as well as central insula. Static nature paintings further activated, relative to dynamic nature stimuli, central and posterior insula. Besides insular activation, which was specific for aesthetic judgment, we found a large overlap in the activation pattern characterizing each stimulus dimension (content and dynamism) across observation, aesthetic judgment and movement judgment tasks. These findings support the idea that the aesthetic evaluation of artworks depicting both human subjects and nature scenes involves a motor component, and that the associated neural processes occur quite spontaneously in the viewer. Furthermore, considering the functional roles of posterior and central insula, we suggest that nature paintings may evoke aesthetic processes requiring an additional proprioceptive and sensori-motor component implemented by motor accessibility to the represented scenario, which is needed to judge the aesthetic value of the observed painting.

We used event-related brain potentials to explore the impact of mental perspective taking on processes of aesthetic appreciation of visual art. Participants (nonexperts) were first presented with information about the life and attitudes of a fictitious artist. Subsequently, they were cued trial-wise to make an aesthetic judgment regarding an image depicting a piece of abstract art either from their own perspective or from the imagined perspective of the fictitious artist (i.e., theory of mind condition). Positive self-referential judgments were made more quickly and negative self-referential judgments were made more slowly than the corresponding judgments from the imagined perspective. Event-related potential analyses revealed significant differences between the two tasks both within the preparation period (i.e., during the cue-stimulus interval) and within the stimulus presentation period. For the theory of mind condition we observed a relative centro-parietal negativity during the preparation period (700 – 330 ms preceding picture onset) and a relative centro-parietal positivity during the stimulus presentation period (700 – 1100 ms after stimulus onset). These findings suggest that different subprocesses are involved in aesthetic appreciation and judgment of visual abstract art from one’s own vs. from another person’s perspective.

This article explores the possibility of testing hypotheses about art production in the past by collecting data in the present. We call this enterprise "experimental art history". Why did medieval artists prefer to paint Christ with his face directed towards the beholder, while profane faces were noticeably more often painted in different degrees of profile? Is a preference for frontal faces motivated by deeper evolutionary and biological considerations? Head and gaze direction is a significant factor for detecting the intentions of others, and accurate detection of gaze direction depends on strong contrast between a dark iris and a bright sclera, a combination that is only found in humans among the primates. One uniquely human capacity is language acquisition, where the detection of shared or joint attention, for example through detection of gaze direction, contributes significantly to the ease of acquisition. The perceived face and gaze direction is also related to fundamental emotional reactions such as fear, aggression, empathy and sympathy. The fast-track modulator model presents a related fast and unconscious subcortical route that involves many central brain areas. Activity in this pathway mediates the affective valence of the stimulus. In particular, different sub-regions of the amygdala show specific activation as response to gaze direction, head orientation and the valence of facial expression. We present three experiments on the effects of face orientation and gaze direction on the judgments of social attributes. We observed that frontal faces with direct gaze were more highly associated with positive adjectives. Does this help to associate positive values to the Holy Face in a Western context? The formal result indicates that the Holy Face is perceived more positively than profiles with both direct and averted gaze. Two control studies, using a Brazilian and a Dutch database of photographs, showed a similar but weaker effect with a larger contrast between the gaze directions for profiles. Our findings indicate that many factors affect the impression of a face, and that eye contact in combination with face direction reinforce the general impression of portraits, rather than determine it. [ABSTRACT FROM AUTHOR]

The relationship between liking and stimulus complexity is commonly reported to follow an inverted U-curve. However, large individual differences among complexity preferences of participants have frequently been observed since the earliest studies on the topic. The common use of across-participant analysis methods that ignore these large individual differences in aesthetic preferences gives an impression of high agreement between individuals. In this study, we collected ratings of liking and perceived complexity from 30 participants for a set of digitally generated grayscale images. In addition, we calculated an objective measure of complexity for each image. Our results reveal that the inverted U-curve relationship between liking and stimulus complexity comes about as the combination of different individual liking functions. Specifically, after automatically clustering the participants based on their liking ratings, we determined that one group of participants in our sample had increasingly lower liking ratings for increasingly more complex stimuli, while a second group of participants had increasingly higher liking ratings for increasingly more complex stimuli. Based on our findings, we call for a focus on the individual differences in aesthetic preferences, adoption of alternative analysis methods that would account for these differences and a re-evaluation of established rules of human aesthetic preferences. [ABSTRACT FROM AUTHOR]

Movement perception and its role in aesthetic experience have been often studied, within empirical aesthetics, in relation to the human body. No such specificity has been defined in neuroimaging studies with respect to contents lacking a human form. The aim of this work was to explore, through functional magnetic imaging (fMRI), how perceived movement is processed during the aesthetic judgment of paintings using two types of content: human subjects and scenes of nature. Participants, untutored in the arts, were shown the stimuli and asked to make aesthetic judgments. Additionally, they were instructed to observe the paintings and to rate their perceived movement in separate blocks. Observation highlighted spontaneous processes associated with aesthetic experience, whereas movement judgment outlined activations specifically related to movement processing. The ratings recorded during aesthetic judgment revealed that nature scenes received higher scored than human content paintings. The imaging data showed similar activation, relative to baseline, for all stimuli in the three tasks, including activation of occipito-temporal areas, posterior parietal, and premotor cortices. Contrast analyses within aesthetic judgment task showed that human content activated, relative to nature, precuneus, fusiform gyrus, and posterior temporal areas, whose activation was prominent for dynamic human paintings. In contrast, nature scenes activated, relative to human stimuli, occipital and posterior parietal cortex/precuneus, involved in visuospatial exploration and pragmatic coding of movement, as well as central insula. Static nature paintings further activated, relative to dynamic nature stimuli, central and posterior insula. Besides insular activation, which was specific for aesthetic judgment, we found a large overlap in the activation pattern characterizing each stimulus dimension (content and dynamism) across observation, aesthetic judgment, and movement judgment tasks. These findings support the idea that the aesthetic evaluation of artworks depicting both human subjects and nature scenes involves a motor component, and that the associated neural processes occur quite spontaneously in the viewer. Furthermore, considering the functional roles of posterior and central insula, we suggest that nature paintings may evoke aesthetic processes requiring an additional proprioceptive and sensori-motor component implemented by "motor accessibility" to the represented scenario, which is needed to judge the aesthetic value of the observed painting. [ABSTRACT FROM AUTHOR]

Photographic cropping is the act of selecting part of a photograph to enhance its aesthetic appearance or visual impact. It is common practice with both professional (expert) and amateur (non-expert) photographers. In a psychometric study, McManus et al. (2011b) showed that participants cropped photographs confidently and reliably. Experts tended to select details from a wider range of positions than non-experts, but other croppers did not generally prefer details that were selected by experts. It remained unclear, however, on what grounds participants selected particular details from a photograph while avoiding other details. One of the factors contributing to cropping decision may be visual saliency. Indeed, various saliency-based computer algorithms are available for the automatic cropping of photographs. However, careful experimental studies on the relation between saliency and cropping are lacking to date. In the present study, we re-analyzed the data from the studies by McManus et al. (2011a,b), focusing on statistical image properties. We calculated saliency-based measures for details selected and details avoided during cropping. As expected, we found that selected details contain regions of higher saliency than avoided details on average. Moreover, the saliency center-of-mass was closer to the geometrical center in selected details than in avoided details. Results were confirmed in an eye tracking study with the same dataset of images. Interestingly, the observed regularities in cropping behavior were less pronounced for experts than for non-experts. In summary, our results suggest that, during cropping, participants tend to select salient regions and place them in an image composition that is well-balanced with respect to the distribution of saliency. Our study contributes to the knowledge of perceptual bottom-up features that are germane to aesthetic decisions in photography and their variability in non-experts and experts. [ABSTRACT FROM AUTHOR]

In this study, we combined the behavioral and objective approach in the field of empirical aesthetics. First, we studied the perception of beauty by investigating shifts in evaluation on perceived beauty of abstract artworks (Experiment 1). Because the participants showed heterogeneous individual preferences for the paintings, we divided them into seven clusters for the test. The experiment revealed a clear pattern of perceptual contrast. The perceived beauty of abstract paintings increased after exposure to paintings that were rated as less beautiful, and it decreased after exposure to paintings that were rated as more beautiful. Next, we searched for correlations of beauty ratings and perceptual contrast with statistical properties of abstract artworks (Experiment 2). The participants showed significant preferences for certain image properties. These preferences differed between the clusters of participants. Strikingly, next to color measures like hue, saturation, value and lightness, the recently described PHOG self-similarity value seems to be a predictor for aesthetic appreciation of abstract artworks. We speculate that the shift in evaluation in Experiment 1 was, at least in part, based on low-level adaptation to some of the statistical image properties analyzed in Experiment 2. In conclusion, our findings demonstrate that the perception of beauty in abstract artworks is altered after exposure to beautiful or non-beautiful images and correlates with particular image properties, especially color measures and self-similarity.

We used event-related brain potentials to explore the impact of mental perspective taking on processes of aesthetic appreciation of visual art. Participants (non-experts) were first presented with information about the life and attitudes of a fictitious artist. Subsequently, they were cued trial-wise to make an aesthetic judgment regarding an image depicting a piece of abstract art either from their own perspective or from the imagined perspective of the fictitious artist [i.e., theory of mind (ToM) condition]. Positive self-referential judgments were made more quickly and negative self-referential judgments were made more slowly than the corresponding judgments from the imagined perspective. Event-related potential analyses revealed significant differences between the two tasks both within the preparation period (i.e., during the cue-stimulus interval) and within the stimulus presentation period. For the ToM condition we observed a relative centro-parietal negativity during the preparation period (700-330 ms preceding picture onset) and a relative centro-parietal positivity during the stimulus presentation period (700-1100 ms after stimulus onset). These findings suggest that different subprocesses are involved in aesthetic appreciation and judgment of visual abstract art from one's own vs. from another person's perspective. [ABSTRACT FROM AUTHOR]

The spatial characteristics of letters and their influence on readability and letter identification have been intensely studied during the last decades. There have been few studies, however, on statistical image properties that reflect more global aspects of text, for example properties that may relate to its aesthetic appeal. It has been shown that natural scenes and a large variety of visual artworks possess a scale-invariant Fourier power spectrum that falls off linearly with increasing frequency in log-log plots. We asked whether images of text share this property. As expected, the Fourier spectrum of images of regular typed or handwritten text is highly anisotropic, i.e. the spectral image properties in vertical, horizontal and oblique orientations differ. Moreover, the spatial frequency spectra of text images are not scale invariant in any direction. The decline is shallower in the low-frequency part of the spectrum for text than for aesthetic artworks, whereas, in the high-frequency part, it is steeper. These results indicate that, in general, images of regular text contain less global structure (low spatial frequencies) relative to fine detail (high spatial frequencies) than images of aesthetics artworks. Moreover, we studied images of text with artistic claim (ornate print and calligraphy) and ornamental art. For some measures, these images assume average values intermediate between regular text and aesthetic artworks. Finally, to answer the question of whether the statistical properties measured by us are universal amongst humans or are subject to intercultural differences, we compared images from three different cultural backgrounds (Western, East Asian and Arabic). Results for different categories (regular text, aesthetic writing, ornamental art and fine art) were similar across cultures.

Improvements in neuroimaging methods have afforded significant advances in our knowledge of the cognitive and neural foundations of aesthetic appreciation. We used magnetoencephalography (MEG) to register brain activity during an aesthetic appreciation task. The data were analyzed with Event-Related Field (ERF) and Time-Frequency (TF) procedures. ERFs revealed no significant differences between brain activity related with stimuli rated as beautiful and not-beautiful. TF analysis showed clear differences between both conditions 400 ms after stimulus onset. In the four frequency bands (theta, alpha, beta and gamma) oscillatory power was significantly greater for stimuli rated as beautiful than those regarded as not-beautiful. These results are interpreted in the frame of synchronization studies.

The spatial characteristics of letters and their influence on readability and letter identification have been intensely studied during the last decades. There have been few studies, however, on statistical image properties that reflect more global aspects of text, for example properties that may relate to its aesthetic appeal. It has been shown that natural scenes and a large variety of visual artworks possess a scale-invariant Fourier power spectrum that falls off linearly with increasing frequency in log-log plots. We asked whether images of text share this property. As expected, the Fourier spectrum of images of regular typed or handwritten text is highly anisotropic, i.e., the spectral image properties in vertical, horizontal, and oblique orientations differ. Moreover, the spatial frequency spectra of text images are not scale-invariant in any direction. The decline is shallower in the low-frequency part of the spectrum for text than for aesthetic artworks, whereas, in the high-frequency part, it is steeper. These results indicate that, in general, images of regular text contain less global structure (low spatial frequencies) relative to fine detail (high spatial frequencies) than images of aesthetics artworks. Moreover, we studied images of text with artistic claim (ornate print and calligraphy) and ornamental art. For some measures, these images assume average values intermediate between regular text and aesthetic artworks. Finally, to answer the question of whether the statistical properties measured by us are universal amongst humans or are subject to intercultural differences, we compared images from three different cultural backgrounds (Western, East Asian, and Arabic). Results for different categories (regular text, aesthetic writing, ornamental art, and fine art) were similar across cultures. [ABSTRACT FROM AUTHOR]

In this work, I propose a model of visual aesthetic experience that combines formalist and contextual aspects of aesthetics. The model distinguishes between two modes of processing. First, perceptual processing is based on the intrinsic form of an artwork, which may or may not be beautiful. If it is beautiful, a beauty-responsive mechanism is activated in the brain. This bottom-up mechanism is universal amongst humans; it is widespread in the visual brain and responsive across visual modalities. Second, cognitive processing is based on contextual information, such as the depicted content, the intentions of the artist or the circumstances of the presentation of the artwork. Cognitive processing is partially top-down and varies between individuals according to their cultural experience. Processing in the two channels is parallel and largely independent. In the general case, an aesthetic experience is induced if processing in both channels is favorable, i.e., if there is resonance in the perceptual processing channel ("aesthetics of perception"), and successful mastering in the cognitive processing channel ("aesthetics of cognition"). I speculate that this combinatorial mechanism has evolved to mediate social bonding between members of a (cultural) group of people. Primary emotions can be elicited via both channels and modulate the degree of the aesthetic experience. Two special cases are discussed. First, in a subset of (post-)modern art, beauty no longer plays a prominent role. Second, in some forms of abstract art, beautiful form can be enjoyed with minimal cognitive processing. The model is applied to examples of Western art. Finally, implications of the model are discussed. In summary, the proposed model resolves the seeming contradiction between formalist perceptual approaches to aesthetic experience, which are based on the intrinsic beauty of artworks, and contextual approaches, which account for highly individual and culturally dependent aspects of aesthetics.

In this study, we combined the behavioral and objective approach in the field of empirical aesthetics. First, we studied the perception of beauty by investigating shifts in evaluation on perceived beauty of abstract artworks (Experiment 1). Because the participants showed heterogeneous individual preferences for the paintings, we divided them into seven clusters for the test. The experiment revealed a clear pattern of perceptual contrast. The perceived beauty of abstract paintings increased after exposure to paintings that were rated as less beautiful, and it decreased after exposure to paintings that were rated as more beautiful. Next, we searched for correlations of beauty ratings and perceptual contrast with statistical properties of abstract artworks (Experiment 2). The participants showed significant preferences for particular image properties. These preferences differed between the clusters of participants. Strikingly, next to color measures like hue, saturation, value and lightness, the recently described Pyramid of Histograms of Orientation Gradients (PHOG) self-similarity value seems to be a predictor for aesthetic appreciation of abstract artworks. We speculate that the shift in evaluation in Experiment 1 was, at least in part, based on low-level adaptation to some of the statistical image properties analyzed in Experiment 2. In conclusion, our findings demonstrate that the perception of beauty in abstract artworks is altered after exposure to beautiful or non-beautiful images and correlates with particular image properties, especially color measures and self-similarity.

Improvements in neuroimaging methods have afforded significant advances in our knowledge of the cognitive and neural foundations of aesthetic appreciation. We used magnetoencephalography (MEG) to register brain activity while participants decided about the beauty of visual stimuli. The data were analyzed with event-related field (ERF) and Time-Frequency (TF) procedures. ERFs revealed no significant differences between brain activity related with stimuli rated as "beautiful" and "not beautiful." TF analysis showed clear differences between both conditions 400 ms after stimulus onset. Oscillatory power was greater for stimuli rated as "beautiful" than those regarded as "not beautiful" in the four frequency bands (theta, alpha, beta, and gamma). These results are interpreted in the frame of synchronization studies.