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Sunlight control tools, such as shading devices, are used to improve buildings' thermal and visual conditions. One of the concerns about using shading devices is their potential to harm the visual appearance of buildings. This study aims to study the aesthetic perception of different shading devices while concurrently evaluating their energy performance. Augmented reality was used to place virtual shading devices onto a building's façade at Jordan University of Science and Technology (JUST). One hundred two students from JUST evaluated eight shading devices on a seven-step semantic differential scale. Participants comprised 49 students from Architecture and Design College and 53 students from other colleges. The energy efficiency of shading devices was tested using DesignBuilder. The results revealed that certain types of shading devices were perceived as more aesthetically pleasing than others. Architecture students and non-architecture students showed significant differences in their affective responses. Regarding shading devices, shape-morphing and horizontal-louvres devices are the most preferred by participants, while egg-crate devices are the least recommended. Regarding energy efficiency, results showed that the tested shading devices improved buildings' energy efficiency by 7% (vertical fins) to 17% (egg crate) compared to the base case and did not negatively impact their visual appearance.

In the last 20 years, a large number of studies have investigated judgments of the identity of various objects (e.g., persons, material objects, institutions) over time. One influential strand of research has found that identity judgments are shaped by normative considerations. People tend to believe that moral improvement is more compatible with the continuity of identity of a person than moral deterioration, suggesting that persons are taken to be essentially morally good. This asymmetry is often referred to as the “Phineas Gage effect”. However, normativity extends beyond morality. In particular, it is unknown whether changes in aesthetic value have a similar impact on identity judgments. We investigate whether works of art would be analogously seen as essentially aesthetically valuable. We ran four studies (N = 1264) to explore whether aesthetic considerations have a similar influence on judgments of the identity of artworks. We presented the participants with stories describing either a painting or a musical work which undergoes changes and becomes either more or less aesthetically valuable. Overall, we found only mixed evidence for the Phineas Gage effect in relation to the aesthetic value of artworks. Other factors, such as moral value, seem to have a bigger impact on judgments of persistence. [ABSTRACT FROM AUTHOR]

Artificial intelligence has emerged as a powerful computational tool to create artworks. One application is Neural Style Transfer, which allows to transfer the style of one image, such as a painting, onto the content of another image, such as a photograph. In the present study, we ask how Neural Style Transfer affects objective image properties and how beholders perceive the novel (style-transferred) stimuli. In order to focus on the subjective perception of artistic style, we minimized the confounding effect of cognitive processing by eliminating all representational content from the input images. To this aim, we transferred the styles of 25 diverse abstract paintings onto 150 colored random-phase patterns with six different Fourier spectral slopes. This procedure resulted in 150 style-transferred stimuli. We then computed eight statistical image properties (complexity, self-similarity, edge-orientation entropy, variances of neural network features, and color statistics) for each image. In a rating study, we asked participants to evaluate the images along three aesthetic dimensions (Pleasing, Harmonious, and Interesting). Results demonstrate that not only objective image properties, but also subjective aesthetic preferences transferred from the original artworks onto the styletransferred images. The image properties of the style-transferred images explain 50 - 69% of the variance in the ratings. In the multidimensional space of statistical image properties, participants considered style-transferred images to be more Pleasing and Interesting if they were closer to a "sweet spot" where traditional Western paintings (JenAesthetics dataset) are represented. We conclude that NST is a useful tool to create novel artistic stimuli that preserve the image properties of the input style images. In the novel stimuli, we found a strong relationship between statistical image properties and subjective ratings, suggesting a prominent role of perceptual processing in the aesthetic evaluation of abstract images. [ABSTRACT FROM AUTHOR]

Artificial intelligence has emerged as a powerful computational tool to create artworks. One application is Neural Style Transfer, which allows to transfer the style of one image, such as a painting, onto the content of another image, such as a photograph. In the present study, we ask how Neural Style Transfer affects objective image properties and how beholders perceive the novel (style-transferred) stimuli. In order to focus on the subjective perception of artistic style, we minimized the confounding effect of cognitive processing by eliminating all representational content from the input images. To this aim, we transferred the styles of 25 diverse abstract paintings onto 150 colored random-phase patterns with six different Fourier spectral slopes. This procedure resulted in 150 style-transferred stimuli. We then computed eight statistical image properties (complexity, self-similarity, edge-orientation entropy, variances of neural network features, and color statistics) for each image. In a rating study, we asked participants to evaluate the images along three aesthetic dimensions (Pleasing, Harmonious, and Interesting). Results demonstrate that not only objective image properties, but also subjective aesthetic preferences transferred from the original artworks onto the style-transferred images. The image properties of the style-transferred images explain 50 – 69% of the variance in the ratings. In the multidimensional space of statistical image properties, participants considered style-transferred images to be more Pleasing and Interesting if they were closer to a “sweet spot” where traditional Western paintings (JenAesthetics dataset) are represented. We conclude that NST is a useful tool to create novel artistic stimuli that preserve the image properties of the input style images. In the novel stimuli, we found a strong relationship between statistical image properties and subjective ratings, suggesting a prominent role of perceptual processing in the aesthetic evaluation of abstract images.

Experimental philosophy of aesthetics has explored to what extent ordinary people are committed to aesthetic realism. Extant work has focused on attitudes to normativism – a key commitment of realist positions in aesthetics – the claim that aesthetic judgments/statements have correctness conditions, invariant between subjects, such that there is a fact of the matter in cases of aesthetic disagreement. The emerging picture is that ordinary people strongly and almost universally reject normativism and thus there is no strong realist tendency in ordinary people's thinking about the aesthetic. This has been taken to dissolve the traditional puzzle in aesthetics of how to best account for the fact that (a) aesthetic judgments seem intersubjectively valid, while (b) aesthetic experience seems subjective. This paper presents studies which further enrich our understanding of ordinary thinking about the aesthetic: ordinary thinking about the aesthetic may not be so vehement in its rejection of normativism; and where previous results suggested that, in many cultures, the dominant trend is to reject correctness conditions for aesthetic judgments, the current results suggest participants think aesthetic judgments have correctness conditions (albeit perhaps very finely relativized to specific circumstances of judgment). [ABSTRACT FROM AUTHOR]

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By applying persuasion and consumer research findings to art appreciation we have checked whether and how artwork framing affects the evaluation of non-representational, abstract contemporary paintings. The frame can be treated as a cue signaling the value of the framed work--the more expensive it seems, the greater the value attached to the painting. However, the frame can be also seen as a means of exhibiting or promoting the picture. Exhibiting a painting in a frame that is perceived as excessively expensive can lead to a lowered rating of this painting. Both of these effects can be moderated by the perceivers' interest in art. We conducted one experimental study, where participants evaluated paintings viewed either without a frame or framed in a simple or decorative frame. The results showed that decorative frames make paintings seem less valuable. Moreover, although simple frames do not affect the evaluation of the paintings by respondents with little interest in art, they impair the evaluation made by more interested participants. It seems that in certain conditions (highly visible frame or engaged perceivers) the frame can be treated as a form of promotion for the framed painting. And such attempts can backfire and negatively impact the evaluation of the painting. [ABSTRACT FROM AUTHOR]

Copyright of Journal for the Critique of Science, Imagination & New Anthropology / Časopis za Kritko Znanosti, Domišljijo in Novo Antropologijo is the property of Institute for the Critique of Science and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

To what extent are factors that are extrinsic to the artwork relevant to judgements of artistic value? One might approach this question using traditional philosophical methods, but one can also approach it using empirical methods; that is, by doing experimental philosophical aesthetics. This paper provides an example of the latter approach. We report two empirical studies that examine the significance of three sorts of extrinsic factors for judgements of artistic value: the causal-historical factor of contagion, the ontological factor of uniqueness, and the contextual factor of appreciative environment. We explore the context of appreciation by performing studies in a museum as well as the lab. We found that contagion made a difference in both settings. However, uniqueness only made a difference in the lab setting, but not in the museum. This suggests that the context of appreciation may make a difference to judgements of artistic value. Of broader significance, these studies show the value of experimental philosophical aesthetics and the value of doing in situ empirical research on art.

Affective pictures are widely used in studies of human emotions. The objects or scenes shown in affective pictures play a pivotal role in eliciting particular emotions. However, affective processing can also be mediated by low-level perceptual features, such as local brightness contrast, color or the spatial frequency profile. In the present study, we asked whether image properties that reflect global image structure and image composition affect the rating of affective pictures. We focused on 13 global image properties that were previously associated with the esthetic evaluation of visual stimuli, and determined their predictive power for the ratings of five affective picture datasets (IAPS, GAPED, NAPS, DIRTI, and OASIS). First, we used an SVM-RBF classifier to predict high and low ratings for valence and arousal, respectively, and achieved a classification accuracy of 58–76% in this binary decision task. Second, a multiple linear regression analysis revealed that the individual image properties account for between 6 and 20% of the variance in the subjective ratings for valence and arousal. The predictive power of the image properties varies for the different datasets and type of ratings. Ratings tend to share similar sets of predictors if they correlate positively with each other. In conclusion, we obtained evidence from non-linear and linear analyses that affective pictures evoke emotions not only by what they show, but they also differ by how they show it. Whether the human visual system actually uses these perceptive cues for emotional processing remains to be investigated.

Groove is defined as wanting to move the body to music. Most empirical groove research has focused on rhythmic features like microtiming and syncopation, while research on musical liking has focused on pitch, form, and repetition. Here, we examine the effect of timbre on groove and liking ratings by applying audio filters to basslines in an electronic dance music (EDM) style. We also investigate via questionnaire the role of music and dance experience, preferred genre, and gender on groove and liking. Four brief EDM loops were created, each consisting of drum samples and a synthesized bassline. Each loop had four audio filter conditions (high-pass, band-pass, low-pass, no filter) applied to its bassline. The 102 participants heard all stimuli three times, rating them for groove and liking, and then completed the questionnaire. For both groove and liking, participants gave higher ratings to the filter conditions preserving low-frequency energy (low-pass and no filter). The relation of the questionnaire data to groove and liking was limited, meriting further investigation. Overall, the results suggest that people find groovier, and like more, basslines preserving low-frequency energy. The lack of loop-filter interaction suggests that timbre can determine groove and liking across different melodic and rhythmic contexts. [ABSTRACT FROM AUTHOR]

Curvilinearity is a perceptual feature that robustly predicts preference ratings for a variety of visual stimuli. The predictive effect of curved/angular shape overlaps, to a large degree, with regularities in second-order edge-orientation entropy, which captures how independent edge orientations are distributed across an image. For some complex line patterns, edge-orientation entropy is actually a better predictor for what human observers like than curved/angular shape. The present work was designed to disentangle the role of the two features in artificial patterns that consisted of either curved or angular line elements. We systematically varied these patterns across two more dimensions, edge-orientation entropy and the number of lines. Eighty-three participants rated the stimuli along three aesthetic dimensions (pleasing, harmonious, and complex). Results showed that curved/angular shape was a stronger predictor for ratings of pleasing and harmonious if the stimuli consisted of a few lines that were clearly discernible. By contrast, edge-orientation entropy was a stronger predictor for the ratings if the stimuli showed many lines, which merged into a texture. No such differences were obtained for complexity ratings. Our findings are in line with results from neurophysiological studies that the processing of shape and texture, respectively, is mediated by different cortical mechanisms. [ABSTRACT FROM AUTHOR]

In a framing experiment, 170 participants aged 19–80 years were asked to read a description in the fashion of a program note prior to listening (individually via headphones) to a sinfonia by Josef Mysliveček (1737–1781). Divergent versions of this description were created for treatment manipulation, while the participants were not informed about it. Within a 2 × 2 design the descriptions (a) attributed the musical piece to different composers of highly different prominence and prestige. Half of the participant group was informed that they would be listening to the overture to the pastoral opera Ascanio in Alba by Wolfgang Amadé Mozart (1756–1791), whereas the other half was informed correctly. The composers' names were (b) combined with descriptions that applied either an analytic or expressive writing mode. Subsequently collected ratings for liking and a number of perceived musical characteristics were significantly higher when participants had read the expressive compared with the analytic writing mode. Interestingly, younger adults showed higher liking ratings when the music was attributed to Mozart, whereas no significant differences were found in older adults. In sum, this study supports the notion that being exposed to text information prior to listening to music affects perception and appreciation of musical characteristics. [ABSTRACT FROM AUTHOR]

Affective pictures are widely used in studies of human emotions. The objects or scenes shown in affective pictures play a pivotal role in eliciting particular emotions. However, affective processing can also be mediated by low-level perceptual features, such as local brightness contrast, color or the spatial frequency profile. In the present study, we asked whether image properties that reflect global image structure and image composition affect the rating of affective pictures. We focused on 13 global image properties that were previously associated with the esthetic evaluation of visual stimuli, and determined their predictive power for the ratings of five affective picture datasets (IAPS, GAPED, NAPS, DIRTI, and OASIS). First, we used an SVM-RBF classifier to predict high and low ratings for valence and arousal, respectively, and achieved a classification accuracy of 58–76% in this binary decision task. Second, a multiple linear regression analysis revealed that the individual image properties account for between 6 and 20% of the variance in the subjective ratings for valence and arousal. The predictive power of the image properties varies for the different datasets and type of ratings. Ratings tend to share similar sets of predictors if they correlate positively with each other. In conclusion, we obtained evidence from non-linear and linear analyses that affective pictures evoke emotions not only by what they show, but they also differ by how they show it. Whether the human visual system actually uses these perceptive cues for emotional processing remains to be investigated. [ABSTRACT FROM AUTHOR]

In recent years, there has been an increasing number of studies on objective image properties in visual artworks. Little is known, however, about how these image properties emerge while artists create their artworks. In order to study this matter, I produced five colored abstract artworks by myself and recorded state images at all stages of their creation. For each image, I then calculated low-level features from deep neural networks, which served as a model of responses properties in visual cortex. Two-dimensional plots of variances that were derived from these features showed that the drawings differ greatly at early stages of their creation, but then follow a narrow common path to terminate at or close to a position where traditional paintings cluster in the plots. Whether other artists use similar perceptive strategies while they create artworks remains to be studied. [ABSTRACT FROM AUTHOR]

The experimental approach to aesthetics, proposed by Gustav Fechner, was discussed in Italy at the beginning of the Twentieth century from different point of views. Benedetto Croce severely criticized experimental aesthetics by considering it as reductionist and naturalist. In contrast, the psychologist Agostino Gemelli stated the experimental validity and the theoretical relevance of this research perspective in determining the laws of aesthetic preference and judgment.

The article presents a behavioral and biological theory as to how aesthetic reactions form. It takes a naturalistic perspective in exploring the likely phylogenetic origins of aesthetic reactions; their functions in the maintenance of human culture; and as indicators of group identity. According to the theory, aesthetic reactions occur when certain affect-charged cognitions interact with transformative effect. The term cognition, as used here, refers to verbal, conceptual, abstract, and derived relational behavior in music, poetry, narratives, and the perception of auditory, visual, tactile, sexual and other sensory stimuli, and excludes respondent behavior. Cognitions become affect-charged and come to elicit affect-linked respondents either when they acquire conditioned stimulus (CS) functionalities via previous Pavlovian conditioning episodes, or when such functionalities are genetic. The theory can be tested experimentally by applying it to the laboratory synthesis of aesthetic reactions and then assessing the result's conformity to accepted definitions and instances of aesthetic reactions. [ABSTRACT FROM AUTHOR]

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Bearing in mind the evolutionary aesthetics of Dennis Dutton, which defines art as a biological instinct, taking into account other evolutionary theories, utilizing the logic of experimental aesthetics that began in the history of aesthetics with Fechner's aesthetics, Chatterjee with his book The Aesthetic Brain, empirically succeeded in deepening, clarifying the most powerful theory of art, namely Dennis Dutton's evolutionary aesthetics. Interestingly, his empirical result is that neuro-aesthetics cannot encompass art as a whole and that there is no neural network devoted to aesthetics. Of great benefit to aesthetics is his attempt to find a solution to the dilemma, Is art a biological instinct or a cultural by-product of life? The idea of art as an instinct is accepted because it implies that art is a much deeper, integral part of our being, a universal human preoccupation. Although scientists usually define art as a biological instinct or as an evolutionary by-product, Chatterjee defines empirical art as universal cultivation in our brains, and as diverse shaped by history. By integrating neuro-aesthetics with evolutionary aesthetics, leading them to a challenging synthesis, utilizing data from psychology, biology, philosophy, art history, and neurology, he will empirically prove that the link between biology and art is very deep. [ABSTRACT FROM AUTHOR]

Copyright of Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

We investigated the relationship between attention and the aesthetic appearance of visual stimuli. In a first study, we evaluated the aesthetic value of pictures depicting chairs by means of a questionnaire. These pictures were categorized as aesthetic, neutral, or non-aesthetic and used in a second study, in which we employed a dot-probe task and a recognition memory task. In the dot-probe task, two pictures of chairs were presented to the left and to the right of fixation, followed by a dot at one of the chair pictures' positions. Participants decided at which side the dot had been presented. To investigate the relation between the aesthetic value of the chairs and the orientation of attention, we paired either aesthetic or non-aesthetic pictures with neutral pictures. The results showed that participants reacted faster when the dot appeared at the position of the aesthetic chair than when it appeared at the position of the neutral one. Such a 'congruency' effect was absent for non-aesthetic chairs. This interactive pattern of results shows that aesthetic stimuli capture attention. In the recognition memory task, in which participants were asked to decide whether a chair had been presented before or not, aesthetic chairs were more accurately and faster recognized than neutral or non-aesthetic ones. Taken together, these results show that aesthetic stimuli entail prioritized cognitive processing. In a final study, we investigated which particular features of the aesthetic stimuli might be important for this effect by correlating the aesthetic evaluation of the pictures with their Gestalt impression. [ABSTRACT FROM AUTHOR]

We recently found that luminance edges are more evenly distributed across orientations in large subsets of traditional artworks, i.e., artworks are characterized by a relatively high entropy of edge orientations, when compared to several categories of other (non-art) images. In the present study, we asked whether edge-orientation entropy is associated with aesthetic preference in a wide variety of other man-made visual patterns and scenes. In the first (exploratory) part of the study, participants rated the aesthetic appeal of simple shapes, artificial ornamental patterns, facades of buildings, scenes of interior architecture, and music album covers. Results indicated that edge-orientation entropy predicts aesthetic ratings for these stimuli. However, the magnitude of the effect depended on the type of images analyzed, on the range of entropy values encountered, and on the type of aesthetic rating (pleasing, interesting, or harmonious). For example, edge-orientation entropy predicted about half of the variance when participants rated facade photographs for pleasing and interesting, but only for 3.5% of the variance for harmonious ratings of music album covers. We also asked whether edge-orientation entropy relates to the well-established human preference for curved over angular shapes. Our analysis revealed that edge-orientation entropy was as good or an even better predictor for the aesthetic ratings than curvilinearity. Moreover, entropy could substitute for shape, at least in part, to predict the aesthetic ratings. In the second (experimental) part of this study, we generated complex line stimuli that systematically varied in their edge-orientation entropy and curved/angular shape. Here, edge-orientation entropy was a more powerful predictor for ratings of pleasing and harmonious than curvilinearity, and as good a predictor for interesting. Again, the two image properties shared a large portion of variance between them. In summary, our results indicate that edge-orientation entropy predicts aesthetic ratings in diverse man-made visual stimuli. Moreover, the preference for high edge-orientation entropy shares a large portion of predicted variance with the preference for curved over angular stimuli.

The Prinzhorn Collection preserves and exhibits thousands of visual artworks by patients who were diagnosed to suffer from mental disease. From this collection, we analyzed 1,256 images by 14 artists who were diagnosed with dementia praecox or schizophrenia. Six objective statistical properties that have been used previously to characterize visually aesthetic images were calculated. These properties reflect features of formal image composition, such as the complexity and distribution of oriented luminance gradients and edges, as well as Fourier spectral properties. Results for the artists with schizophrenia were compared to artworks from three public art collections of paintings and drawings that include highly acclaimed artworks as well as artworks of lesser artistic claim (control artworks). Many of the patients’ works did not differ from these control images. However, the artworks of 6 of the 14 artists with schizophrenia possess image properties that deviate from the range of values obtained for the control artworks. For example, the artworks of four of the patients are characterized by a relative dominance of specific edge orientations in their images (low first-order entropy of edge orientations). Three patients created artworks with a relatively high ratio of fine detail to coarse structure (high slope of the Fourier spectrum). In conclusion, the present exploratory study opens novel perspectives for the objective scientific investigation of visual artworks that were created by persons who suffer from schizophrenia.

We recently found that luminance edges are more evenly distributed across orientations in large subsets of traditional artworks, i.e., artworks are characterized by a relatively high entropy of edge orientations, when compared to several categories of other (non-art) images. In the present study, we asked whether edge-orientation entropy is associated with aesthetic preference in a wide variety of other man-made visual patterns and scenes. In the first (exploratory) part of the study, participants rated the aesthetic appeal of simple shapes, artificial ornamental patterns, facades of buildings, scenes of interior architecture, and music album covers. Results indicated that edge-orientation entropy predicts aesthetic ratings for these stimuli. However, the magnitude of the effect depended on the type of images analyzed, on the range of entropy values encountered, and on the type of aesthetic rating (pleasing, interesting , or harmonious). For example, edge-orientation entropy predicted about half of the variance when participants rated facade photographs for pleasing and interesting , but only for 3.5% of the variance for harmonious ratings of music album covers. We also asked whether edge-orientation entropy relates to the well-established human preference for curved over angular shapes. Our analysis revealed that edge-orientation entropy was as good or an even better predictor for the aesthetic ratings than curvilinearity. Moreover, entropy could substitute for shape , at least in part, to predict the aesthetic ratings. In the second (experimental) part of this study, we generated complex line stimuli that systematically varied in their edge-orientation entropy and curved/angular shape. Here, edge-orientation entropy was a more powerful predictor for ratings of pleasing and harmonious than curvilinearity, and as good a predictor for interesting. Again, the two image properties shared a large portion of variance between them. In summary, our results indicate that edge-orientation entropy predicts aesthetic ratings in diverse man-made visual stimuli. Moreover, the preference for high edge-orientation entropy shares a large portion of predicted variance with the preference for curved over angular stimuli. [ABSTRACT FROM AUTHOR]

Seeking to identify the common and distinguishing attributes of effects one might call “aesthetic,” I examined hundreds of examples in music, visual arts, poetry, literature, humor, performance arts, architecture, science, mathematics, games, and other disciplines. I observed that all involve quasi-emotional reactions to stimuli that are composites of multiple elements that ordinarily do not occur together and whose interaction, when appropriately potentiated, is transformative—different in kind from the effects of the separate constituent elements. Such effects, termed synergetic, can evoke surprise-tinged emotional responses. Aesthetic reactions, unlike many other kinds of emotional reactions, are never evoked by biologically urgent action-demanding events, such as threats or opportunities. The examined effects were created by various concept manipulation devices: class expansion, identification of new relations, repetition, symmetry, parsimony, and emotional displays for the audience to mirror (I identified a total of 16 such devices). The effects would occur only for individuals with the necessary priming, in circumstances that include effective potentiating factors. Synergetic stimuli that evoke aesthetic responses tend to be reinforcing, via mechanisms related to their biological utility during our evolution. I offer a theory as to how aesthetics may have evolved from its primordial pre-aesthetic roots, with examples of how consideration of those roots often explains aesthetic and related effects. The article suggests that aesthetic phenomena are a special case of a more pervasive aspect of behavior and proposes research approaches involving laboratory models and fMRI technology. [ABSTRACT FROM AUTHOR]

What do people consciously experience when they read? There has been almost no rigorous research on this question, and opinions diverge radically among both philosophers and psychologists. We describe three studies of the phenomenology of reading and its relationship to memory of textual detail and general cognitive abilities. We find three main results. First, there is substantial variability in reports about reading experience, both within and between participants. Second, reported reading experience varies with passage type: passages with dialogue prompted increased reports of inner speech, while passages with vivid visual detail prompted increased reports of visual imagery. Third, reports of visual imagery experiences, inner speech experiences, and experiences of conscious visual perception of the words on the page were at best weakly related to general cognitive abilities and memory of visual and auditory details. [ABSTRACT FROM AUTHOR]

The Prinzhorn Collection preserves and exhibits thousands of visual artworks by patients who were diagnosed to suffer from mental disease. From this collection, we analyzed 1,256 images by 14 artists who were diagnosed with dementia praecox or schizophrenia. Six objective statistical properties that have been used previously to characterize visually aesthetic images were calculated. These properties reflect features of formal image composition, such as the complexity and distribution of oriented luminance gradients and edges, as well as Fourier spectral properties. Results for the artists with schizophrenia were compared to artworks from three public art collections of paintings and drawings that include highly acclaimed artworks as well as artworks of lesser artistic claim (control artworks). Many of the patients' works did not differ from these control images. However, the artworks of 6 of the 14 artists with schizophrenia possess image properties that deviate from the range of values obtained for the control artworks. For example, the artworks of four of the patients are characterized by a relative dominance of specific edge orientations in their images (low first-order entropy of edge orientations). Three patients created artworks with a relatively high ratio of fine detail to coarse structure (high slope of the Fourier spectrum). In conclusion, the present exploratory study opens novel perspectives for the objective scientific investigation of visual artworks that were created by persons who suffer from schizophrenia. [ABSTRACT FROM AUTHOR]

Aesthetic appreciation is looked at with respect to domain generality and domain specificity. Within the classic cognitive paradigm, modality- and domain-specific receptive processes are explored. These are then complemented with central processing structures. These reveal domain-specific as well as domain-general processing. Extending the classic cognitive science approach, the role of emotion in aesthetic appreciation is also explored. While domain-specific models of aesthetic appreciation are clearly called for, there are also numerous domain-general subprocesses and structures. [ABSTRACT FROM AUTHOR]

Several statistical image properties have been associated with large subsets of traditional visual artworks. Here, we investigate some of these properties in three categories of art that differ in artistic claim and prestige: (1) Traditional art of different cultural origin from established museums and art collections (oil paintings and graphic art of Western provenance, Islamic book illustration and Chinese paintings), (2) Bad Art from two museums that collect contemporary artworks of lesser importance (© Museum Of Bad Art [MOBA], Somerville, and Official Bad Art Museum of Art [OBAMA], Seattle), and (3) twentieth century abstract art of Western provenance from two prestigious museums (Tate Gallery and Kunstsammlung Nordrhein-Westfalen). We measured the following four statistical image properties: the fractal dimension (a measure relating to subjective complexity); self-similarity (a measure of how much the sections of an image resemble the image as a whole), 1st-order entropy of edge orientations (a measure of how uniformly different orientations are represented in an image); and 2nd-order entropy of edge orientations (a measure of how independent edge orientations are across an image). As shown previously, traditional artworks of different styles share similar values for these measures. The values for Bad Art and twentieth century abstract art show a considerable overlap with those of traditional art, but we also identified numerous examples of Bad Art and abstract art that deviate from traditional art. By measuring statistical image properties, we quantify such differences in image composition for the first time.

One of the goal of computational aesthetics is to understand what is special about visual artworks. By analyzing image statistics, contemporary methods in computer vision enable researchers to identify properties that distinguish artworks from other (non-art) types of images. Such knowledge will eventually allow inferences with regard to the possible neural mechanisms that underlie aesthetic perception in the human visual system. In the present study, we define measures that capture variances of features of a well-established Convolutional Neural Network (CNN), which was trained on millions of images to recognize objects. Using an image dataset that represents traditional Western, Islamic and Chinese art, as well as various types of non-art images, we show that we need only two variance measures to distinguish between the artworks and non-art images with a high classification accuracy of 93.0%. Results for the first variance measure imply that, in the artworks, the subregions of an image tend to be filled with pictorial elements, to which many diverse CNN features respond (richness of feature responses). Results for the second measure imply that this diversity is tied to a relatively large variability of the responses of individual CNN feature across the subregions of an image. We hypothesize that this combination of richness and variability of CNN feature responses is one of properties that makes traditional visual artworks special. We discuss the possible neural underpinnings of this perceptual quality of artworks and propose to study the same quality also in other types of aesthetic stimuli, such as music and literature.

Aesthetics has been the subject of long-standing debates by philosophers and psychologists alike. In psychology, it is generally agreed that aesthetic experience results froman interaction between perception, cognition, and emotion. By experimentalmeans, this triad has been studied in the field of experimental aesthetics, which aims to gain a better understanding of how aesthetic experience relates to fundamental principles of human visual perception and brain processes. Recently, researchers in computer vision have also gained interest in the topic, giving rise to the field of computational aesthetics. With computing hardware and methodology developing at a high pace, the modeling of perceptually relevant aspect of aesthetic stimuli has a huge potential. In this review, we present an overview of recent developments in computational aesthetics and how they relate to experimental studies. In the first part, we cover topics such as the prediction of ratings, style and artist identification as well as computational methods in art history, such as the detection of influences among artists or forgeries.We also describe currently used computational algorithms, such as classifiers and deep neural networks. In the second part, we summarize results from the field of experimental aesthetics and cover several isolated image properties that are believed to have a effect on the aesthetic appeal of visual stimuli. Their relation to each other and to findings from computational aesthetics are discussed. Moreover, we compare the strategies in the two fields of research and suggest that both fields would greatly profit from a joined research effort. We hope to encourage researchers from both disciplines to work more closely together in order to understand visual aesthetics from an integrated point of view. [ABSTRACT FROM AUTHOR]

This study investigated the inverted-U model of preference for music as a function of collative variables (especially familiarity and complexity) over the last 115 years. The results of 57 studies on music preference were categorized according to their patterns of preference. Fifty of the 57 studies (87.7%) were categorized as compatible with an overarching (segmented) inverted-U model, while the results of five studies (8.8%) were interpreted as mixed, showing both compatible and incompatible results. Two studies (3.5%) were categorized as completely incompatible with the model. In contrast to authors who describe the model as defunct, this review has observed that studies producing results compatible with the inverted-U are still prevalent. We propose that while there may be inconsistencies with Berlyne's psychobiological theory from a scientific, arousal-based standpoint, the inverted-U model is able to explain a considerable amount of data. Rather, it seems that research interests have moved elsewhere, but caution is urged in asserting denial or dismissal of the relationship in music preference research. [ABSTRACT FROM AUTHOR]

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Several statistical image properties have been associated with large subsets of traditional visual artworks. Here, we investigate some of these properties in three categories of art that differ in artistic claim and prestige: (1) Traditional art of different cultural origin from established museums and art collections (oil paintings and graphic art of Western provenance, Islamic book illustration and Chinese paintings), (2) Bad Art from two museums that collect contemporary artworks of lesser importance (© Museum Of Bad Art [MOBA], Somerville, and Official Bad Art Museum of Art [OBAMA], Seattle), and (3) twentieth century abstract art of Western provenance from two prestigious museums (Tate Gallery and Kunstsammlung Nordrhein-Westfalen). We measured the following four statistical image properties: the fractal dimension (a measure relating to subjective complexity); self-similarity (ameasure of howmuch the sections of an image resemble the image as a whole), 1st-order entropy of edge orientations (a measure of how uniformly different orientations are represented in an image); and 2nd-order entropy of edge orientations (a measure of how independent edge orientations are across an image). As shown previously, traditional artworks of different styles share similar values for these measures. The values for Bad Art and twentieth century abstract art show a considerable overlap with those of traditional art, but we also identified numerous examples of Bad Art and abstract art that deviate from traditional art. By measuring statistical image properties, we quantify such differences in image composition for the first time. [ABSTRACT FROM AUTHOR]