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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.

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 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.

Classic cadherins belong to the family of cadherin genes and play important roles in neurogenesis, neuron migration and axon growth. In the present study, we compared the expression patterns of 10 classic cadherins (Cdh2, Cdh4, Cdh6, Cdh7, Cdh8, Cdh9, Cdh11, Cdh12, Cdh18 and Cdh20) in the developing chicken spinal cord by in situ hybridization. Our results indicate that each of the investigated cadherins exhibits a spatially restricted and temporally regulated pattern of expression. At early developmental stages (E2.5-E3), Cdh2 is expressed throughout the neuroepithelial layer. Cdh6 is strongly positive in the roof plate and later also in the floor plate. Cdh7, Cdh11, Cdh12 and Cdh20 are expressed in restricted regions of the basal plate of the spinal cord. At intermediate stages of development (E4-E10), specific expression profiles are observed for all investigated cadherins in the differentiating mantle layer along the dorsoventral, mediolateral and rostrocaudal dimensions. Expression profiles are especially diverse for Cdh2, Cdh4, Cdh8, Cdh11 and Cdh20 in the dorsal horn, while different pools of motor neurons exhibit signal for Cdh6, Cdh7, Cdh8, Cdh9, Cdh12 and Cdh20 in the ventral horn. Interestingly, subpopulations of cells in the dorsal root ganglion express combinations of different cadherins. In the surrounding tissues, such as the boundary cap cells and the notochord, the cadherins are also expressed differentially. The highly regulated spatiotemporal expression patterns of the classic cadherins indicate that these genes potentially play multiple and diverse roles during the development of the spinal cord and its surrounding tissues.

Most visual advertisements are designed to attract attention, often by inducing a pleasant impression in human observers. Accordingly, results from brain imaging studies show that advertisements can activate the brain’s reward circuitry, which is also involved in the perception of other visually pleasing images, such as artworks. At the image level, large subsets of artworks are characterized by specific statistical image properties, such as a high self-similarity and intermediate complexity. Moreover, some image properties are distributed uniformly across orientations in the artworks (low anisotropy). In the present study, we asked whether images of advertisements share these properties. To answer this question, subsets of different types of advertisements (single-product print advertisements, supermarket and department store leaflets, magazine covers and show windows) were analyzed using computer vision algorithms and compared to other types of images (photographs of simple objects, faces, large-vista natural scenes and branches). We show that, on average, images of advertisements and artworks share a similar degree of complexity (fractal dimension) and self-similarity, as well as similarities in the Fourier spectrum. However, images of advertisements are more anisotropic than artworks. Values for single-product advertisements resemble each other, independent of the type of product promoted (cars, cosmetics, fashion or other products). For comparison, we studied images of architecture as another type of visually pleasing stimuli and obtained comparable results. These findings support the general idea that, on average, man-made visually pleasing images are characterized by specific patterns of higher-order (global) image properties that distinguish them from other types of images. Whether these properties are necessary or sufficient to induce aesthetic perception and how they correlate with brain activation upon viewing advertisements remains to be investigated.

Frames provide a visual link between artworks and their surround. We asked how image properties change as an observer zooms out from viewing a painting alone, to viewing the painting with its frame and, finally, the framed painting in its museum environment (museum scene). To address this question, we determined three higher-order image properties that are based on histograms of oriented luminance gradients. First, complexity was measured as the sum of the strengths of all gradients in the image. Second, we determined the self-similarity of histograms of the orientated gradients at different levels of spatial analysis. Third, we analyzed how much gradient strength varied across orientations (anisotropy). Results were obtained for three art museums that exhibited paintings from three major periods of Western art. In all three museums, the mean complexity of the frames was higher than that of the paintings or the museum scenes. Frames thus provide a barrier of complexity between the paintings and their exterior. By contrast, self-similarity and anisotropy values of images of framed paintings were intermediate between the images of the paintings and the museum scenes, i.e., the frames provided a transition between the paintings and their surround. We also observed differences between the three museums that may reflect modified frame usage in different art periods. For example, frames in the museum for 20th century art tended to be smaller and less complex than in the two other two museums that exhibit paintings from earlier art periods (13th-18th century and 19th century, respectively). Finally, we found that the three properties did not depend on the type of reproduction of the paintings (photographs in museums, scans from books or images from the Google Art Project). To the best of our knowledge, this study is the first to investigate the relation between frames and paintings by measuring physically defined, higher-order image properties.

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.