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)

Philosophers of music, like Charles Swann in Proust’s novel (Proust 1913/1992, p. 360), have traditionally found it difficult to utter the word ‘profound’ unironically. But this changed with Peter Kivy’s 1990 paper ‘The profundity of music’ The problem Kivy draws our attention to is this: we do call some musical works profound. However, Kivy argues, given that a work is profound only if it is about something profound and given that music (or ‘music alone’) is not about anything, this leads (...) to something of a paradox: how can music be profound if it is not about something profound. My aim in this paper is to argue that what makes a work profound is not that it is about something profound, but that it actively challenges any straightforward interpretative activity (while at the same time nudges you to keep on trying to interpret it). I argue that this line of argument is very much in tune with Kivy’s general theoretical commitment that “music alone isn’t about anything” (Kivy 1990, p. 245). (shrink)

Over the last few decades, empirical researchers have become increasingly interested in explaining the formation of “basic” aesthetic judgments, i.e. simple judgments of sensory preferability and the pleasure that seems to accompany them. To that end, Reber et al. have recently defended a “processing-fluency” view, which identifies aesthetic pleasure with one’s ability to easily process an object’s perceptual properties (e.g. Reber 2012 ). While the processing-fluency theory is certainly an improvement over its competitors, it is currently vulnerable to several serious (...) criticisms. In what follows, I aim to provide a more holistic, explanatorily robust, model of the processing-fluency theory of aesthetic pleasure by incorporating what the view neglects: the crucial role of perceptual disfluency, interest, and the underlying values that drive aesthetic appraisal. (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)

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)

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)

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.

Current theories assume that perception and affect are separate realms of the mind. In contrast, we argue that affect is a genuine online-component of perception instantaneously mirroring the success of different perceptual stages. Consequently, we predicted that the success (failure) of even very early and cognitively encapsulated basic visual Processing steps would trigger immediate positive (negative) affective responses. To test this assumption, simple visual stimuli that either allowed or obstructed early visual processing stages without participants being aware of this were (...) presented briefly. Across 5 experiments, we found more positive affective responses to stimuli that allowed rather than obstructed Gestalt completion at certain early visual stages (Experiments 1–3; briefest presentation 100 ms with post-mask), and visual disambiguation in possible vs. impossible Necker cubes (Experiments 4 and 5; briefest presentation 100 ms with post-mask). This effect was observed both on verbal preference ratings (Experiments 1, 2, and 4) and as facial muscle responses occurring within 2–4 s after stimulus onset (zygomaticus activity; Experiments 3 and 7). For instance, in participants unaware of spatial possibility we found affective discrimination between possible and impossible Necker cubes (the famous Freemish Crate) for 100 ms presentation timings, although a conscious discrimination took more than 2000 ms (Experiment 4). (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)

Aristotle famously claimed that we perceive that we see or hear, and that this metaperception necessarily accompanies all conscious sensory experiences. In this essay I compare Aristotle’s account of metaperception with three main models of self-awareness to be found in the contemporary literature. The first model countenances introspection or inner sense as higher-order perception. The second model rejects introspection altogether, and maintains that judgments that we see or hear can be directly extracted from the first-order experience, using a procedure sometimes (...) called “an ascent routine.” The third model insists that the first-order experience has a twofold intentional structure: it is directed both at the perceived external object and at itself, i.e., reflexively. Although Aristotle’s own account is certainly closer to the third model (as Brentano rightly observed), the latter does not exhaust Aristotle’s insights on metaperception. One function of the common sense in Aristotle’s theory of perception is apparently to monitor the activity of our sensory modalities, and to make us aware that we see or hear independently of the sensory contents of our experience. I shall suggest that the monitoring function of perception is best understood in relation with contemporary cognitive science research on metacognition. Common sense is or involves a metaperceptual practical ability distinct from both object level sensory perception and metarepresentational knowledge about our senses. (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 intuitions concerning semantic coherence participants are able to discriminate above chance whether a word triad has a common remote associate or not . These intuitions are driven by increased fluency in processing coherent triads compared to incoherent triads, which in turn triggers a brief and short positive affect. The present work investigates which of these internal cues, fluency or positive affect, is the actual cue underlying coherence intuitions. In Experiment 1, participants liked coherent word triads more than incoherent triads, (...) but did not rate them as being more fluent in processing. In Experiment 2, participants could intuitively detect coherence when they misattributed fluency to an external source, but lost this intuitive ability when they misattributed affect. It is concluded that the coherence-induced fluency by itself is not consciously experienced and not used in the coherence intuitions, but the fluency-triggered affective consequences. (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)

What is art? What is beauty? Why are we driven to create? People have been struggling with the answers to these questions for millenia. In this book Jay Friedenberg examines age old and contemporary responses to the perceptual and performative side of aesthetics. The work is wide-ranging in scope, addressing all forms of art including painting, photography, writing, film, music, theater, dance, and more. Issues are examined from multiple perspectives with separate chapters on history, philosophy, mathematics, physics, psychology, and neuroscience. (...) This beautifully illustrated book can be read by a general audience or used as an undergraduate or graduate textbook for courses in art history, aesthetics, or media studies. (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)

Scientists, humanists, and art lovers alike value art not just for its beauty, but also for its social and epistemic importance; that is, for its communicative nature, its capacity to increase one's self-knowledge and encourage personal growth, and its ability to challenge our schemas and preconceptions. However, empirical research tends to discount the importance of such social and epistemic outcomes of art engagement, instead focusing on individuals' preferences, judgments of beauty, pleasure, or other emotional appraisals as the primary outcomes of (...) art appreciation. Here, we argue that a systematic neuroscientific study of art appreciation must move beyond understanding aesthetics alone, and toward investigating the social importance of art appreciation. We make our argument for such a shift in focus first, by situating art appreciation as an active social practice. We follow by reviewing the available psychological and cognitive neuroscientific evidence that art appreciation cultivates socio-epistemic skills such as self- and other-understanding, and discuss philosophical frameworks which suggest a more comprehensive empirical investigation. Finally, we argue that focusing on the socio-epistemic values of art engagement highlights the important role art plays in our lives. Empirical research on art appreciation can thus be used to show that engagement with art has specific social and personal value, the cultivation of which is important to us as individuals, and as communities. (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)

The mere exposure phenomenon (repeated exposure to a stimulus is sufficient to improve attitudes toward that stimulus) is one of the most inspiring phenomena associated with Robert Zajonc’s long and productive career in social psychology. In the first part of this article, Richard Moreland (who was trained by Zajonc in graduate school) describes his own work on exposure and learning, and on the relationships among familiarity, similarity, and attraction in person perception. In the second part, Sascha Topolinski (a recent graduate (...) who never met Zajonc, but found his ideas inspirational) describes his own work concerning embodiment and fluency in the mere exposure effect. Also, several avenues for future research on the mere exposure phenomenon are identified, further demonstrating its continuing relevance to the field. (shrink)

A major challenge for Dual Process Theories of reasoning is to predict the circumstances under which intuitive answers reached on the basis of Type 1 processing are kept or discarded in favour of analytic, Type 2 processing (Thompson 2009 ). We propose that a key determinant of the probability that Type 2 processes intervene is the affective response that accompanies Type 1 processing. This affective response arises from the fluency with which the initial answer is produced, such that fluently produced (...) answers give rise to a strong feeling of rightness. This feeling of rightness, in turn, determines the extent and probability with which Type 2 processes will be engaged. Because many of the intuitions produced by Type 1 processes are fluent, it is common for them to be accompanied by a strong sense of rightness. However, because fluency is poorly calibrated to objective difficulty, confidently held intuitions may form the basis of poor quality decisions. (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)

Musical frissons (or chills) have been at the forefront of both philosophical and psychological research on audience responses to music. The aim of this article is to argue that frissons also play an important role in the experience of dance performances. Following Jerrold Levinson’s distinction between sound-quality frissons and sound-structure frissons, the article zooms in on the concept of conflict-induced frissons, which feature prominently in a variety of art forms besides music, from film to literature, and it is of crucial (...) importance for understanding the audience reaction to some dance performances. A case study of Pina Bausch’s choreographies is given to illustrate this point. (shrink)

We argue that while the proposed memory model by Bastin et al. can explain familiarity-based memory judgements through the interaction of a core representation system and an attribution system, recollection-based memory judgements are not based on non-mnemonic signals being attributed to memory.

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)

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)

In this essay, I explore how cognitive science could illuminate the concept of beauty. Two results from the extensive literature on aesthetics guide my discussion. As the term “beauty” is overextended in general usage, I choose as my starting point the notion of “perfect form.” Aesthetic theorists are in reasonable agreement about the criteria for perfect form. What do these criteria imply for mental representations that are experienced as beautiful? Complexity theory can be used to specify constraints on mental representations (...) abstractly formulated as vectors in a high-dimensional space. A central feature of the proposed model is that perfect form depends both on features of the objects or events perceived and on the nature of the encoding strategies or model of the observer. A simple example illustrates the proposed calculations. A number of interesting implications that arise as a consequence of reformulating beauty in this way are noted. (shrink)

The subjective impression that statements are true increases when statements are presented repeatedly. There are two sources for this truth effect: An increase in validity based on recollection and increase in processing fluency due to repeated exposure . Using multinomial processing trees , we present a comprehensive model of the truth effect. Furthermore, we show that whilst the increase in processing fluency is indeed automatic, the interpretation and use of that experience is not. Experiment 1 demonstrates the standard use of (...) the fluency experience and Experiment 2 demonstrates that people can change the interpretation of the experience according to its ecological validity. By implication, the truth effect represents the adaptive usage of feedback received from internal processes. (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)