While the view that we perceive aesthetic properties may seem intuitive, it has received little in the way of explicit defence. It also gives rise to a puzzle. The first strand of this puzzle is that we often cannot perceive aesthetic properties of artworks without training, yet much aesthetic training involves the acquisition of knowledge, such as when an artwork was made, and by whom. How, if at all, can this knowledge affect our perception of an artwork’s aesthetic properties? The (...) second strand of the puzzle arises when we widen the scope of aesthetic experience. The very same aesthetic properties that seem to require training for their perception in artworks do not appear to require training to perceive in objects of everyday aesthetic appreciation and natural phenomena. In this paper I argue that a prominent extant attempt to explain how training is compatible with aesthetic perception—cognitive permeation—is an inadequate solution. I also develop a positive view of aesthetic perception that provides a unified solution to both strands of the puzzle. (shrink)

The flow construct has been influential within positive psychology, sport psychology, the science of consciousness, the philosophy of agency, and popular culture. In spite of its longstanding influence, it remains unclear [a] how the constituents of the flow state ‘hang together’—how they relate to each other causally and functionally—[b] in what sense flow is an ‘optimal experience,’ and [c] how best to describe the unique phenomenology of the flow state. As a result, difficulties persist for a clear understanding of the (...) flow state’s structure and function. After explicating the standard view of the flow construct, I articulate several basic questions regarding its nature and functional roles, and I argue that these questions are best answered by integrating flow within broader streams of research on the dynamics of thought, on cognitive control resource allocation, and on creative thought. (shrink)

Statements such as “X is beautiful but I don’t like how it looks” or “I like how X looks but it is not beautiful” sound contradictory. How contradictory they sound might however depend on the object X and on the aesthetic adjective being used (“beautiful”, “elegant”, “dynamic”, etc.). In our study, the first sentence was estimated to be more contradictory than the latter: If we describe something as beautiful, we often intend to evaluate its appearance, whereas it is less counterintuitive (...) to appreciate an appearance without finding it beautiful. Furthermore, statements including “beautiful” appeared more contradictory than those including “elegant” and “dynamic”, pointing to its greater evaluative component. When related to artworks, sentences could appear less contradictory due to readers’ consideration of the divergence between conventional beauty and art-related sensory pleasures that can even include negative valence. Such ambivalence might be more frequent in art-objects than in other artefacts. Indeed, in our study, sentences referring to artworks were estimated to be less contradictory compared to sentences referring to other artefacts. Meanwhile, an additional small group of graphic design students showed a less clear difference between art-related and non-art-related sentences. We discuss the potential influence of art experience and interest as well as theoretical and methodological challenges like the conceptualization of beauty. (shrink)

One of the oldest platitudes about beauty is that it is pleasant to perceive or experience. In this article, I take this platitude at face value and try to explain why experiences of beauty are seemingly always accompanied by pleasure. Unlike explanations that have been offered in the past, the explanation proposed is designed to suit a “realist” view on which beauty is an irreducibly evaluative property, that is, a value. In a nutshell, the explanation is that experiences of beauty (...) are experiences in which it appears that something is beautiful, and that such experiences are identical to experiences of aesthetic pleasure. (shrink)

Although mathematicians often use it, mathematical beauty is a philosophically challenging concept. How can abstract objects be evaluated as beautiful? Is this related to their visualisations? Using an example from graph theory, this paper argues that, in making aesthetic judgements, mathematicians may be responding to a combination of perceptual properties of visual representations and mathematical properties of abstract structures; the latter seem to carry greater weight. Mathematical beauty thus primarily involves mathematicians’ sensitivity to aesthetics of the abstract.

The concepts of “good” and “bad” are associated with right and left space. Individuals tend to associate good things with the side of their dominant hand, where they experience greater motor fluency, and bad things with their nondominant side. This mapping has been shown to be flexible: Changing the relative fluency of the hands, or even observing a change in someone else's motor fluency, results in a reversal of the conceptual mapping, such that good things become associated with the side (...) of the nondominant hand. Yet, based on prior studies, it is unclear whether space–valence associations were determined by the experience of fluent versus disfluent actions, or by the mere expectation of fluency. Here, we tested the role of expected fluency by removing motor execution and perceptual feedback altogether. Participants were asked to imagine themselves performing a psychomotor task with one of their hands impaired, after which their implicit space–valence mapping was measured. After imagining that their right hand was impaired, right-handed participants showed the “good is left” association typical of left-handers. Motor imagery can change people's implicit associations between space and emotional valence. Although asymmetric motor experience may be necessary to establish body-specific associations between space and valence initially, neither motoric nor perceptual experience is needed to change these associations subsequently. The mere expectation of fluent versus disfluenct actions can drive fluency-based effects on people's implicit spatialization of “good” and “bad.” These results suggest a reconsideration of the mechanisms and boundary conditions of fluency effects. (shrink)

ABSTRACT This paper explores the role of aesthetic judgements in mathematics by focussing on the relationship between the epistemic and aesthetic criteria employed in such judgements, and on the nature of the psychological experiences underpinning them. I claim that aesthetic judgements in mathematics are plausibly understood as expressions of what I will call ‘aesthetic-epistemic feelings’ that serve a genuine cognitive and epistemic function. I will then propose a naturalistic account of these feelings in terms of sub-personal processes of representing and (...) assessing the relation between cognitive processes and certain properties of the stimuli at which they are directed. (shrink)

A long tradition of research including classical rhetoric, esthetics and poetics theory, formalism and structuralism, as well as current perspectives in (neuro)cognitive poetics has investigated structural and functional aspects of literature reception. Despite a wealth of literature published in specialized journals like Poetics, however, still little is known about how the brain processes and creates literary and poetic texts. Still, such stimulus material might be suited better than other genres for demonstrating the complexities with which our brain constructs the world (...) in and around us, because it unifies thought and language, music and imagery in a clear, manageable way, most often with play, pleasure, and emotion (Schrott and Jacobs, 2011 ). In this paper, I discuss methods and models for investigating the neuronal and cognitive-affective bases of literary reading together with pertinent results from studies on poetics, text processing, emotion, or neuroaesthetics, and outline current challenges and future perspectives. (shrink)

Imaginative resistance refers to a phenomenon in which people resist engaging in particular prompted imaginative activities. On one influential diagnosis of imaginative resistance, the systematic difficulties are due to these particular propositions’ discordance with real-world norms. This essay argues that this influential diagnosis is too simple. While imagination is indeed by default constrained by real-world norms during narrative engagement, it can be freed with the power of genre conventions and expectations.

In three experiments, picture quality between test items was manipulated to examine whether subjects’ expectations about the fluency normally associated with these different stimuli might influence the effects of fluency on preference or familiarity-based recognition responses. The results showed that fluency due to pre-exposure influenced responses less when objects were presented with high picture quality, suggesting that attributions of fluency to preference and familiarity are adjusted according to expectations about the different test pictures. However, this expectations influence depended on subjects’ (...) awareness of these different quality levels. Indeed, imperceptible differences seemed not to induce expectations about the test item fluency. In this context, fluency due to both picture quality and pre-exposure influenced direct responses. Conversely, obvious, and noticed, differences in test picture quality did no affect responses, suggesting that expectations moderated attributions of fluency only when fluency normally associated with these different stimuli was perceptible but difficult to assess. (shrink)

Perceivers generally show a poor ability to detect changes, a condition referred to as “Change Blindness” . They are, in addition, “blind to their own blindness”. A common explanation of this “Change Blindness Blindness” is that it derives from an inadequate, “photographical” folk-theory about perception. This explanation, however, does not account for intra-individual variations of CBB across trials. Our study aims to explore an alternative theory, according to which participants base their self-evaluations on two activity-dependent cues, namely search time and (...) perceived success in prior trials. These cues were found to influence self-evaluation in two orthogonal ways: success-feedback influenced self-evaluation in a global, contextual way, presumably by recalibrating the norm of adequacy for the task. Search time influenced it in a local way, predicting the success of a given trial from its duration. (shrink)

In three experiments, picture quality between test items was manipulated to examine whether subjects’ expectations about the fluency normally associated with these different stimuli might influence the effects of fluency on preference or familiarity-based recognition responses. The results showed that fluency due to pre-exposure influenced responses less when objects were presented with high picture quality, suggesting that attributions of fluency to preference and familiarity are adjusted according to expectations about the different test pictures. However, this expectations influence depended on subjects’ (...) awareness of these different quality levels. Indeed, imperceptible differences seemed not to induce expectations about the test item fluency. In this context, fluency due to both picture quality and pre-exposure influenced direct responses. Conversely, obvious, and noticed, differences in test picture quality did no affect responses, suggesting that expectations moderated attributions of fluency only when fluency normally associated with these different stimuli was perceptible but difficult to assess. (shrink)

Pain is modulated by cognitive factors, including attention and emotions. In this study we evaluated the distractive effect of aesthetic appreciation on subjectively rated pain and multi-channel evoked potentials induced by CO2 laser stimulation of the left hand in twelve healthy volunteers. Subjects were stimulated by laser in the absence of other external stimulation and while looking at different paintings they had previously rated as beautiful, neutral or ugly. The view of paintings previously appreciated as beautiful produced lower pain scores (...) and a clear inhibition of the P2 wave amplitude, localized in the anterior cingulate cortex; the inhibition of P2 wave amplitude was lesser or not significant during the presentation of the ugly or neutral paintings, respectively. Dipole source localization analysis of the LEP peaks showed significant changes during different conditions, with a shift from the posterior to the anterior right cingulated cortex while looking at paintings previously rated as beautiful. (shrink)

It has recently been argued that metal’s ‘heaviness’ is conceptually inarticulable. I argue, on the contrary, that ‘heaviness’ is a matter of inaccessibility—the ‘something more’ that makes metal ‘heavy’ is actually something less: less auditory processing fluency. Like profound literature, metal resists, but also invites and rewards, interpretation. I argue that understanding ‘heaviness’ in terms of auditory processing fluency allows us to make sense of a number of otherwise puzzling features of the music, and to articulate a unifying gestalt for (...) the genre. (shrink)

Fractal patterns offer one way to represent the rough complexity of the natural world. Whilst they dominate many of our visual experiences in nature, little large-scale perceptual research has been done to explore how we respond aesthetically to these patterns. Previous research (Taylor et al., 2011) suggests that the fractal patterns with mid-range fractal dimensions have universal aesthetic appeal. Perceptual and aesthetic responses to visual complexity have been more varied with findings suggesting both linear (Forsythe et al., 2011) and curvilinear (...) (Berlyne, 1970) relationships. Individual differences have been found to account for many of the differences we see in aesthetic responses but some, such as culture, have received little attention within the fractal and complexity research fields. This 2-study paper aims to test preference responses to fractal dimension and visual complexity, using a large cohort (N=443) of participants from around the world to allow universality claims to be tested. It explores the extent to which age, culture and gender can predict our preferences for fractally complex patterns. Following exploratory analysis that found strong correlations between fractal dimension and visual complexity, a series of linear mixed-effect models were implemented to explore if each of the individual variables could predict preference. The first tested a linear complexity model (likelihood of selecting the more complex image from the pair of images) and the second a mid-range fractal dimension model (likelihood of selecting an image within mid-range). Results show that individual differences can reliably predict preferences for complexity across culture, gender and age. However, in fitting with current findings the mid-range models show greater consistency in preference not mediated by gender, age or culture. This paper supports the established theory that the mid-range fractal patterns appear to be a universal construct underlying preference but also highlights the fragility of universal claims by demonstrating individual differences in preference for the interrelated concept of visual complexity. This highlights a current stalemate in the field of empirical aesthetics. (shrink)

The vast majority of studies on affective processes in reading focus on single words. The most robust finding is a processing advantage for positively valenced words, which has been replicated in the rare studies investigating effects of affective features of words during sentence or story comprehension. Here we were interested in how the different valences of words in a sentence influence its processing and supralexical affective evaluation. Using a sentence verification task we investigated how comprehension of simple declarative sentences containing (...) a noun and an adjective depends on the valences of both words. The results are in line with the assumed general processing advantage for positive words. We also observed a clear interaction effect, as can be expected from the affective priming literature: sentences with emotionally congruent words (e.g., The grandpa is clever) were verified faster than sentences containing emotionally incongruent words (e.g., The grandpa is lonely). The priming effect was most prominent for sentences with positive words suggesting that both, early processing as well as later meaning integration and situation model construction, is modulated by affective processing. In a second rating task we investigated how the emotion potential of supralexical units depends on word valence. The simplest hypothesis predicts that the supralexical affective structure is a linear combination of the valences of the nouns and adjectives (Bestgen, 1994 ). Overall, our results do not support this: The observed clear interaction effect on ratings indicate that especially negative adjectives dominated supralexical evaluation, i.e., a sort of negativity bias in sentence evaluation. Future models of sentence processing thus should take interactive affective effects into account. (shrink)

We investigate the nature of the sense of presence that usually accompanies perceptual experience. We show that the notion of a sense of presence can be interpreted in two ways, corresponding to the sense that we are acquainted with an object, and the sense that the object is real. In this essay, we focus on the sense of reality. Drawing on several case studies such as derealization disorder, Parkinson’s disease and virtual reality, we argue that the sense of reality is (...) two-way independent from the spatial and sensory contents of experience. We suggest that the sense of reality is an affective experience akin to a metacognitive feeling. Finally, we present a potentially important implication of our account for the current debate between Intentionalism and Naïve Realism. Since perception is “opaque” with respect to the reality of what is perceived, Intentionalism cannot refer to the sense of reality as what differentiates perception from sensory-like experiences such as imaginings. In contrast, Naïve Realism has an independent explanation of the specificity of perception. (shrink)

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

The study aims to help characterize the sort of structures about which people can acquire unconscious knowledge. It is already well established that people can implicitly learn n-grams and also repetition patterns. We explore the acquisition of unconscious structural knowledge of symmetry. Chinese Tang poetry uses a specific sort of mirror symmetry, an inversion rule with respect to the tones of characters in successive lines of verse. We show, using artificial poetry to control both n-gram structure and repetition patterns, that (...) people can implicitly learn to discriminate inversions from non-inversions, presenting a challenge to existing models of implicit learning. (shrink)

Research into intuitive problem solving has shown that objective closeness of participants’ hypotheses were closer to the accurate solution than their subjective ratings of closeness. After separating conceptually intuitive problem solving from the solutions of rational incremental tasks and of sudden insight tasks, we replicated this finding by using more precise measures in a conceptual problem-solving task. In a second study, we distinguished performance level, processing style, implicit knowledge and subjective feeling of closeness to the solution within the problem-solving task (...) and examined the relationships of these different components with measures of intelligence and personality. Verbal intelligence correlated with performance level in problem solving, but not with processing style and implicit knowledge. Faith in intuition, openness to experience, and conscientiousness correlated with processing style, but not with implicit knowledge. These findings suggest that one needs to decompose processing style and intuitive components in problem solving to make predictions on effects of intelligence and personality measures. (shrink)

When we use secure computer systems, we engage with carefully orchestrated and ordered interactions called “security ceremonies”, all of which exist to assure security. A great deal of attention has been paid to improving the usability of these ceremonies over the last two decades, to make them easier for end-users to engage with. Yet, usability improvements do not seem to have endeared end users to ceremonies. As a consequence, human actors might subvert the ceremony’s processes or avoid engaging with it. (...) Here, we consider whether beautification could be one way of making ceremonies more appealing. To explore beautification in this context, we carried out three studies. Study 1 surveyed 250 participants to derive a wide range of potential dimensions of “beautiful ceremonies”. These statements were sorted into dominant themes and converted into statements, which fed into the second study, with 309 respondents, to reveal the dominant dimensions constituting beauty. Study 3 asked 41 participants to carry out a Q-sort, which revealed the ways that people combine the identified dimensions when characterising security ceremonies as “beautiful”. These studies have allowed us to pin down the perceived dimensions of beauty in the context of security ceremonies, and also to understand how people combine these dimensions in different ways in judging security ceremonies to be beautiful, confirming the old adage of beauty being “in the eye of the beholder”. We conclude by highlighting the constraints imposed by the overarching requirement for security to be maintained in the face of any usability improvements and beautification endeavours. (shrink)

Humans naturally perceive visual patterns in a global manner and are remarkably capable of extracting object shapes based on properties such as proximity, closure, symmetry, and good continuation. Notwithstanding the role of these properties in perceptual grouping, studies highlighted differences in disembedding performance across individuals, which are summarized by the field dependence dimension. Evidence suggests that age and educational attainment explain part of this variability, whereas the role of sex is still highly debated. Also, which stimulus features primarily influence inter-individual (...) variations in perceptual grouping has still to be fully determined. Building upon these premises, we assessed the role of age, education level, and sex on performance at the Leuven Embedded Figure Test—a proxy of disembedding abilities—in 391 cisgender individuals. We also investigated to what extent shape symmetry, closure, complexity, and continuation relate to task accuracy. Overall, target asymmetry, closure, and good continuation with the embedding context increase task difficulty. Simpler shapes are more difficult to detect than those with more lines, yet context complexity impairs the recognition of complex targets to a greater extent. Concerning demographic data, we confirm that age and educational attainment are significantly associated with disembedding abilities and reveal a perceptual advantage in males. In summary, our study further highlights the role of shape properties in disembedding performance and unveils sex differences not reported so far. (shrink)

Natural forms, often characterized by irregularity and roughness, have a unique complexity that exhibit self-similarity across different spatial scales or levels of magnification. Our visual system is remarkably efficient in the processing of natural scenes and tuned to the multi-scale, fractal-like properties they possess. The fractal-like scaling characteristics are ubiquitous in many physical and biological domains, with recent research also highlighting their importance in aesthetic perception, particularly in the visual and, to some extent, auditory modalities. Given the multitude of fractal-like (...) scaling manifestations, we explore potential commonalities in the way they might affect aesthetic preference within and across different physical and sensory domains. We use a range of visual and tactile stimuli to explore the equivalence of fractal-scaling effects on aesthetic preferences within and across visual and tactile modalities. Our results suggest that, despite some superficial differences, the underlying dimensional structure mediating the preference across the two domains is remarkably similar. The qualitative nature of this dimensional structure as well as suggestions for future research are discussed. (shrink)

This paper explores the role of aesthetic judgements in mathematics by focussing on the relationship between the epistemic and aesthetic criteria employed in such judgements, and on the nature of the psychological experiences underpinning them. I claim that aesthetic judgements in mathematics are plausibly understood as expressions of what I will call ‘aesthetic-epistemic feelings’ that serve a genuine cognitive and epistemic function. I will then propose a naturalistic account of these feelings in terms of sub-personal processes of representing and assessing (...) the relation between cognitive processes and certain properties of the stimuli at which they are directed. (shrink)

To analyze the relations between art and science, philosophers and historians have developed different lines of inquiry. A first type of inquiry considers how artistic and scientific practices have interacted over human history. Another project aims to determine the contributions that scientific research can make to our understanding of art, including the contributions that cognitive science can make to philosophical questions about the nature of art. We rely on contributions made to these projects in order to demonstrate that art and (...) science are codependent phenomena. Specifically, we explore the codependence of art and science in the context of a historical analysis of their interactions and in the context of contemporary debates on the cognitive science of art. (shrink)

Mathematicians routinely pass judgements on mathematical proofs. A proof might be elegant, cumbersome, beautiful, or awkward. Perhaps the highest praise is that a proof is right, that is, that the proof fits the theorem in an optimal way. It is also common to judge that one proof fits better than another, or that a proof does not fit a theorem at all. This paper attempts to clarify the notion of mathematical fit. We suggest six criteria that distinguish proofs as being (...) more or less fitting, and provide examples from several different mathematical fields. (shrink)

Company–cause fit has been one of the major issues in the domain of corporate social responsibility. This study tries to expand the perspective from company–cause to company–non-profit organization (NPO) fit, and it gives implications to firms looking for long-term collaboration with an NPO. Specifically, it suggests three types of fit, i.e., familiarity, business, and activity fit and investigates the potential effects of these fits in social alliances between companies and the partnering NPOs on consumer attributions of the firms’ motives for (...) the alliances. An experiment that used scenarios revealed that consumers perceive high-fitted alliances on the dimensions of the familiarity and activity fit as being more public-serving than low-matched ones. However, the consumers’ attribution of the motive is not different between the high and low business fit. The implications of the research results are discussed from an academic and practical standpoint. (shrink)

Statements’ rated truth increases when people encounter them repeatedly. Processing fluency is a central variable to explain this truth effect. However, people experience processing fluency positively, and these positive experiences might cause the truth effect. Three studies investigated positivity and fluency influences on the truth effect. Study 1 found correlations between elicited positive feelings and rated truth. Study 2 replicated the repetition-based truth effect, but positivity did not influence the effect. Study 3 conveyed positive and negative correlations between positivity and (...) truth in a learning phase. We again replicated the truth effect, but positivity only influenced judgments for easy statements in the learning phase. Thus, across three studies, we found positivity effects on rated truth, but not on the repetition-based truth effect: We conclude that positivity does not explain the standard truth effect, but the role of positive experiences for truth judgments deserves further investigation. (shrink)

Emotion Review, Volume 14, Issue 1, Page 15-30, January 2022. We offer an account of mental health and well-being using the predictive processing framework. According to this framework, the difference between mental health and psychopathology can be located in the goodness of the predictive model as a regulator of action. What is crucial for avoiding the rigid patterns of thinking, feeling and acting associated with psychopathology is the regulation of action based on the valence of affective states. In PPF, valence (...) is modelled as error dynamics—the change in prediction errors over time. Our aim in this paper is to show how error dynamics can account for both momentary happiness and longer term well-being. What will emerge is a new neurocomputational framework for making sense of human flourishing. (shrink)

People implicitly associate different emotions with different locations in left-right space. Which aspects of emotion do they spatialize, and why? Across many studies people spatialize emotional valence, mapping positive emotions onto their dominant side of space and negative emotions onto their non-dominant side, consistent with theories of metaphorical mental representation. Yet other results suggest a conflicting mapping of emotional intensity (a.k.a., emotional magnitude), according to which people associate more intense emotions with the right and less intense emotions with the left (...) — regardless of their valence; this pattern has been interpreted as support for a domain-general system for representing magnitudes. To resolve the apparent contradiction between these mappings, we first tested whether people implicitly map either valence or intensity onto left-right space, depending on which dimension of emotion they attend to (Experiments 1a, b). When asked to judge emotional valence, participants showed the predicted valence mapping. However, when asked to judge emotional intensity, participants showed no systematic intensity mapping. We then tested an alternative explanation of findings previously interpreted as evidence for an intensity mapping (Experiments 2a, b). These results suggest that previous findings may reflect a left-right mapping of spatial magnitude (i.e., the size of a salient feature of the stimuli) rather than emotion. People implicitly spatialize emotional valence, but, at present, there is no clear evidence for an implicit lateral mapping of emotional intensity. These findings support metaphor theory and challenge the proposal that mental magnitudes are represented by a domain-general metric that extends to the domain of emotion. (shrink)