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)

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)

Research has shown that processing dynamics on the perceiver's end determine aesthetic pleasure. Specifically, typical objects, which are processed more fluently, are perceived as more attractive. We extend this notion of perceptual fluency to judgments of vocal aesthetics. Vocal attractiveness has traditionally been examined with respect to sexual dimorphism and the apparent size of a talker, as reconstructed from the acoustic signal, despite evidence that gender-specific speech patterns are learned social behaviors. In this study, we report on a series of (...) three experiments using 60 voices to compare the relationship between judgments of vocal attractiveness, stereotypicality, and gender categorization fluency. Our results indicate that attractiveness and stereotypicality are highly correlated for female and male voices. Stereotypicality and categorization fluency were also correlated for male voices, but not female voices. Crucially, stereotypicality and categorization fluency interacted to predict attractiveness, suggesting the role of perceptual fluency is present, but nuanced, in judgments of human voices. (shrink)

This essay discusses four definitions of beauty from Western philosophy in light of recent experimental work from the more modern fields of psychology and biology. The first idea, derived from Plato, that beauty consists of relationships between parts, is partially confirmed by recent psychological experiments on infants and adults. The second idea, that beauty consists of one salient feature amid a mass of details, is more recent, perhaps from Hume, and is confirmed by some experiments on adults, but this finding (...) has not been replicated in non-Western cultures. The third idea, that beauty is based on utility, occurs in Plato but is more difficult to support through experiments; biology suggests that a longing for beauty, not merely for survival, is an evolutionary target. Finally, the fourth idea, that beauty is a type of cognitive pleasure, is a constant thread from Plato through the work of Aquinas and Kant and seems to confirm a preference for an optimum level of complexity by adults, but cannot explain a parallel preference for complexity in human infants. (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)

This article combines findings from cognitive psychology on the role of processing fluency in truth judgments with epistemological theory on justification of belief. We first review evidence that repeated exposure to a statement increases the subjective ease with which that statement is processed. This increased processing fluency, in turn, increases the probability that the statement is judged to be true. The basic question discussed here is whether the use of processing fluency as a cue to truth is epistemically justified. In (...) the present analysis, based on Bayes’ Theorem, we adopt the reliable-process account of justification presented by Goldman (1986) and show that fluency is a reliable cue to truth, under the assumption that the majority of statements one has been exposed to are true. In the final section, we broaden the scope of this analysis and discuss how processing fluency as a potentially universal cue to judged truth may contribute to cultural differences in commonsense beliefs. (shrink)

Most people encounter art images as digital reproductions on a computer screen instead of as originals in a museum or gallery. With the development of digital technologies, high-resolution artworks can be accessed anywhere and anytime by a large number of viewers. Since these digital images depict the same content and are attributed to the same artist as the original, it is often implicitly assumed that their aesthetic evaluation will be similar. When it comes to the digital reproductions of art, however, (...) it is also obvious that reproductions do differ from the originals in various aspects. Besides image quality, resolution, and format, the most obvious change is in the representation of color. The effects of subjectively varying surface-level image features on art evaluation have not been clearly assessed. To address this gap, we compare the evaluation of digital reproductions of 16 expressionist and impressionist paintings manipulated to have a high color saturation vs. a saturation similar to the original. We also investigate the impact of viewing time and expertise, two other aspects that may impact the perception of art in online contexts. Moreover, we link these dimensions to a recent model of aesthetic experience [the Vienna Integrated Model of Top-Down and Bottom-Up Processes in Art Perception ]. Results suggest that color saturation does not exert a major influence on liking. Cognitive and emotional aspects, however, are affected – to different extents for experts and laypersons. For laypersons, the increase in color saturation led to more positive assessments of an artwork, whereas it resulted in increased confusion for art experts. This insight is particularly important when it comes to reproducing artworks digitally. Depending on the intended use, increasing or decreasing the color saturation of the digitally reproduced image might be most appropriate. We conclude with a discussion of these findings and address the question of why empirical aesthetics requires more precise dimensions to better understand the subtle processes that take place in the perception of today’s digitally reproduced art environment. (shrink)

The position of individuals' bodies (e.g., holding a pencil in the mouth in a way that either facilitates or inhibits smiling musculature) can influence their emotional reactions to the stimuli they encounter, and can even impact their explicit preferences for one item over another. In this article we begin by reviewing the literature demonstrating these effects, explore mechanisms to explain this body-preference link, and introduce new work from our lab that asks whether one's bodily or motor experiences might also shape (...) preferences in situations where the body is not contorted in a particular position, or when there is no intention to act. Such work suggests that one consequence of perceiving an object is the automatic and covert motor simulation of acting on this object. This, in turn, provides individuals with information about how easy or hard this action would be. It transpires that we like to do what is easy, and we also prefer objects that are easier to act on. The notion that judgments of object likeability are driven by motoric information furthers embodied cognition theories by demonstrating that even our preferences are grounded in action. (shrink)

Does context influence our appreciation of beauty? To answer this question, two experiments were conducted to determine the effect of contextual aesthetics on the recognition of moral behavior. Experiment 1 demonstrated that individuals in a high-aesthetic context had a quicker recognition time for moral behavior than those in a low-aesthetic context. In a low-aesthetic context, individuals recognize immoral behavior more quickly than in a high aesthetic context. Individuals showed greater recognition rates for moral behavior in a high aesthetic context and (...) higher recognition for immoral behaviors in a low aesthetic context for behavior with unclear information. Experiment 2 revealed that individual fixation counts were smaller under the conditions of high aesthetic context and moral behavior than under the conditions of low aesthetic context and moral behavior, indicating a correlation between low aesthetic context and immoral behavior. This study shows that high aesthetic context facilitates the recognition of moral behavior, which has implications for moral education. (shrink)

Digital images taken by mobile phones are the most frequent class of images created today. Due to their omnipresence and the many ways they are encountered, they require a specific focus in research. However, to date, there is no systematic compilation of the various factors that may determine our evaluations of such images, and thus no explanation of how users select and identify relatively “better” or “worse” photos. Here, we propose a theoretical taxonomy of factors influencing the aesthetic appeal of (...) mobile phone photographs. Beyond addressing relatively basic/universal image characteristics, perhaps more related to fast perceptual processing of an image, we also consider factors involved in the slower re-appraisal or deepened aesthetic appreciation of an image. We span this taxonomy across specific types of picture genres commonly taken—portraits of other people, selfies, scenes and food. We also discuss the variety of goals, uses, and contextual aspects of users of mobile phone photography. As a working hypothesis, we propose that two main decisions are often made with mobile phone photographs: Users assess images at a first glance—by swiping through a stack of images—focusing on visual aspects that might be decisive to classify them from “low quality” to “acceptable” to, in rare cases, “an exceptionally beautiful picture.” Users make more deliberate decisions regarding one’s “favorite” picture or the desire to preserve or share a picture with others, which are presumably tied to aspects such as content, framing, but also culture or personality, which have largely been overlooked in empirical research on perception of photographs. In sum, the present review provides an overview of current focal areas and gaps in research and offers a working foundation for upcoming research on the perception of mobile phone photographs as well as future developments in the fields of image recording and sharing technology. (shrink)

How do we come to like the things that we do? Each one of us starts from a relatively similar state at birth, yet we end up with vastly different sets of aesthetic preferences. These preferences go on to define us both as individuals and as members of our cultures. Therefore, it is important to understand how aesthetic preferences form over our lifetimes. This poses a challenging problem: to understand this process, one must account for the many factors at play (...) in the formation of aesthetic values and how these factors influence each other over time. A general framework based on basic neuroscientific principles that can also account for this process is needed. Here, we present such a framework and illustrate it through a model that accounts for the trajectories of aesthetic values over time. Our framework is inspired by meta-analytic data of neuroimaging studies of aesthetic appraisal. This framework incorporates effects of sensory inputs, rewards, and motivational states. Crucially, each one of these effects is probabilistic. We model their interactions under a reinforcement-learning circuitry. Simulations of this model and mathematical analysis of the framework lead to three main findings. First, different people may develop distinct weighing of aesthetic variables because of individual variability in motivation. Second, individuals from different cultures and environments may develop different aesthetic values because of unique sensory inputs and social rewards. Third, because learning is stochastic stemming from probabilistic sensory inputs, motivations, and rewards, aesthetic values vary in time. These three theoretical findings account for different lines of empirical research. Through our study, we hope to provide a general and unifying framework for understanding the various aspects involved in the formation of aesthetic values over time. (shrink)

The emotion of surprise entails a complex of immediate responses, such as cognitive interruption, attention allocation to, and more systematic processing of the surprising stimulus. All these processes serve the ultimate function to increase processing depth and thus cognitively master the surprising stimulus. The present account introduces phasic negative affect as the underlying mechanism responsible for this switch in operating mode. Surprising stimuli are schema-discrepant and thus entail cognitive disfluency, which elicits immediate negative affect. This affect in turn works like (...) a phasic cognitive tuning switching the current processing mode from more automatic and heuristic to more systematic and reflective processing. Directly testing the initial elicitation of negative affect by surprising events, the present experiment presented high and low surprising neutral trivia statements to N = 28 participants while assessing their spontaneous facial expressions via facial electromyography. High compared to low surprising trivia elicited higher corrugator activity, indicative of negative affect and mental effort, while leaving zygomaticus (positive affect) and frontalis (cultural surprise expression) activity unaffected. Future research shall investigate the mediating role of negative affect in eliciting surprise-related outcomes. (shrink)

Cognitive Science, Volume 46, Issue 9, September 2022.

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)

When humans are confronted with an epidemic situation or a continuous natural disaster, success depends largely on how critical information is conveyed to as many people as possible, how individuals' emotional experiences of the crisis are elicited, and how their behaviors are directed going forward. Efficient publicity is key to successful epidemic prevention and control. This study explores the role of creative publicity by comparing the influence of creative publicity and general publicity in different periods of the COVID-19 outbreak in (...) China. The effects of creative and general publicity differed across varying periods of the COVID-19 outbreak. Specifically, compared to general publicity, creative publicity had a significant impact on individuals' emotional arousal in the early period of the COVID-19 outbreak while it significantly promoted individuals' emotional arousal, behavioral regulation, and willingness to actively disseminate information in the middle period. In the stable period of the COVID-19 outbreak, creative publicity performed better than general publicity in regulating individuals' behavior. On the other hand, general publicity was more effective than creative publicity in regulating individuals' behavior and actively disseminating information about the epidemic in the early period of the COVID-19 outbreak. In conclusion, creative and general publicity had differing effects in different periods of the COVID-19 outbreak, which may relate to the characteristics of the publicity format and people's psychological conditions in different periods of the COVID-19 outbreak. (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)

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)

At the core of the Ouroboros Model lies a self-referential recursive process with alternating phases of data acquisition and evaluation. Memory entries are organized in schemata. Activation at a time of part of a schema biases the whole structure and, in particular, missing features, thus triggering expectations. An iterative recursive monitor process termed ‘consumption analysis’ is then checking how well such expectations fit with successive activations. A measure for the goodness of fit, “emotion”, provides feedback as (self-) monitoring signal. Contradictions (...) between anticipations based on previous experience and actual current data are highlighted as well as minor gaps and deficits. The basic algorithm can be applied to goal directed movements as well as to abstract rational reasoning when weighing evidence for and against some remote theories. A sketch is provided how the Ouroboros Model can shed light on rather different characteristics of human behavior including learning and meta-learning. Partial implementations proved effective in dedicated safety systems. (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.

Bullot & Reber (B&R) put forth a design stance to fuse psychological and art historical accounts of visual thinking into a single theory. We argue that this aspect of their proposal needs further fine-tuning. Issues of transgression and coherence are necessary to provide stability to the design stance. We advocate looking to Art Education for such fundamentals of picture understanding.

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)

Stimuli that resemble humans, but are not perfectly human-like, are disliked compared to distinctly human and nonhuman stimuli. Accounts of this “Uncanny Valley” effect often focus on how changes in human resemblance can evoke different emotional responses. We present an alternate account based on the novel hypothesis that the Uncanny Valley is not directly related to ‘human-likeness’ per se, but instead reflects a more general form of stimulus devaluation that occurs when inhibition is triggered to resolve conflict between competing stimulus-related (...) representations. We consider existing support for this inhibitory-devaluation hypothesis and further assess its feasibility through tests of two corresponding predictions that arise from the link between conflict-resolving inhibition and aversive response: 1) that the pronounced disliking of Uncanny-type stimuli will occur for any image that strongly activates multiple competing stimulus representations, even in the absence of any human-likeness, and 2) that the negative peak of an ‘Uncanny Valley’ should occur at the point of greatest stimulus-related conflict and not (in the presence of human-likeness) always closer to the ‘human’ end of a perceptual continuum. We measured affective responses to a set of line drawings representing nonhuman animal-animal morphs, in which each continuum midpoint was a bistable image (Exp. 1), as well as to sets of human-robot and human-animal computer-generated morphs (Exp. 2). Affective trends depicting classic Uncanny Valley functions occurred for all continua, including the nonhuman stimuli. Images at continua midpoints elicited significantly more negative affect than images at endpoints, even when the continua included a human endpoint. This illustrates the feasibility of the inhibitory-devaluation hypothesis and the need for further research into the possibility that the strong dislike of Uncanny-type stimuli reflects the negative affective consequences of cognitive inhibition. (shrink)

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)