The dynamics of experiencing Gestalt and Aha in cubist art: pupil responses and art evaluations show a complex interplay of task, stimuli content, and time course.

Introduction: Gestalt perception refers to the cognitive ability to perceive various elements as a unified whole. In our study, we delve deeper into the phenomenon of Gestalt recognition in visual cubist art, a transformative process culminating in what is often described as an Aha moment. This Aha moment signifies a sudden understanding of what is seen, merging seemingly disparate elements into a coherent meaningful picture. The onset of this Aha moment can vary, either appearing almost instantaneously, which is in line with theories of hedonic fluency, or manifesting after a period of time, supporting the concept of delayed but more in-depth meaningful insight. Methods: We employed pupillometry to measure cognitive and affective shifts during art interaction, analyzing both maximum pupil dilation and average dilation across the trial. The study consisted of two parts: in the first, 84 participants identified faces in cubist paintings under various conditions, with Aha moments and pupil dilation measured. In part 2, the same 84 participants assessed the artworks through ratings in a no-task free-viewing condition. Results: Results of part 1 indicate a distinctive pattern of pupil dilation, with maximum dilation occurring at both trial onset and end. Longer response times were observed for high-fluent, face-present stimuli, aligning with a delayed but accurate Aha-moment through recognition. Additionally, the time of maximum pupil dilation, rather than average dilation, exhibited significant associations, being later for high-fluent, face-present stimuli and correct detections. In part 2, average, not the time of maximum pupil dilation emerged as the significant factor. Face-stimuli and highly accessible art evoked stronger dilations, also reflecting high clearness and negative valence ratings. Discussion: The study underscores a complex relationship between the timing of recognition and the Aha moment, suggesting nuanced differences in emotional and cognitive responses during art viewing. Pupil dilation measures offer insight into these processes especially for moments of recognition, though their application in evaluating emotional responses through artwork ratings warrants further exploration.

Reading in the city: mobile eye-tracking and evaluation of text in an everyday setting.

Reading is often regarded as a mundane aspect of everyday life. However, little is known about the natural reading experiences in daily activities. To fill this gap, this study presents two field studies (N = 39 and 26, respectively), where we describe how people explore visual environments and divide their attention toward text elements in highly ecological settings, i.e., urban street environments, using mobile eye-tracking glasses. Further, the attention toward the text elements (i.e., shop signs) as well as their memorability, measured via follow-up recognition test, were analysed in relation to their aesthetic quality, which is assumed to be key for attracting visual attention and memorability. Our results revealed that, within these urban streets, text elements were looked at most, and looking behaviour was strongly directed, especially toward shop signs, across both street contexts; however, aesthetic values were not correlated either with the most looked at signs or the viewing time for the signs. Aesthetic ratings did however have an effect on memorability, with signs rated higher being better recognised. The results will be discussed in terms aesthetic reading experiences and implications for future field studies.

Machine learning revealed symbolism, emotionality, and imaginativeness as primary predictors of creativity evaluations of western art paintings.

Creativity is a compelling yet elusive phenomenon, especially when manifested in visual art, where its evaluation is often a subjective and complex process. Understanding how individuals judge creativity in visual art is a particularly intriguing question. Conventional linear approaches often fail to capture the intricate nature of human behavior underlying such judgments. Therefore, in this study, we employed interpretable machine learning to probe complex associations between 17 subjective art-attributes and creativity judgments across a diverse range of artworks. A cohort of 78 non-art expert participants assessed 54 artworks varying in styles and motifs. The applied Random Forests regressor models accounted for 30% of the variability in creativity judgments given our set of art-attributes. Our analyses revealed symbolism, emotionality, and imaginativeness as the primary attributes influencing creativity judgments. Abstractness, valence, and complexity also had an impact, albeit to a lesser degree. Notably, we observed non-linearity in the relationship between art-attribute scores and creativity judgments, indicating that changes in art-attributes did not consistently correspond to changes in creativity judgments. Employing statistical learning, this investigation presents the first attribute-integrating quantitative model of factors that contribute to creativity judgments in visual art among novice raters. Our research represents a significant stride forward building the groundwork for first causal models for future investigations in art and creativity research and offering implications for diverse practical applications. Beyond enhancing comprehension of the intricate interplay and specificity of attributes used in evaluating creativity, this work introduces machine learning as an innovative approach in the field of subjective judgment.

Social reputation influences on liking and willingness-to-pay for artworks: A multimethod design investigating choice behavior along with physiological measures and motivational factors.

Art, as a prestigious cultural commodity, concerns aesthetic and monetary values, personal tastes, and social reputation in various social contexts-all of which are reflected in choices concerning our liking, or in other contexts, our actual willingness-to-pay for artworks. But, how do these different aspects interact in regard to the concept of social reputation and our private versus social selves, which appear to be essentially intervening, and potentially conflicting, factors driving choice? In our study, we investigated liking and willingness-to-pay choices using-in art research-a novel, forced-choice paradigm. Participants (N = 123) made choices from artwork-triplets presented with opposing artistic quality and monetary value-labeling, thereby creating ambiguous choice situations. Choices were made in either private or in social/public contexts, in which participants were made to believe that either art-pricing or art-making experts were watching their selections. A multi-method design with eye-tracking, neuroendocrinology (testosterone, cortisol), and motivational factors complemented the behavioral choice analysis. Results showed that artworks, of which participants were told were of high artistic value were more often liked and those of high monetary-value received more willingness-to-pay choices. However, while willingness-to-pay was significantly affected by the presumed observation of art-pricing experts, liking selections did not differ between private/public contexts. Liking choices, compared to willingness-to-pay, were also better predicted by eye movement patterns. Whereas, hormone levels had a stronger relation with monetary aspects (willingness-to-pay/ art-pricing expert). This was further confirmed by motivational factors representative for reputation seeking behavior. Our study points to an unexplored terrain highlighting the linkage of social reputation mechanisms and its impact on choice behavior with a ubiquitous commodity, art.

Neuropsychopharmacological aesthetics: A theoretical consideration of pharmacological approaches to causative brain study in aesthetics and art.

Recent developments in neuroaesthetics have heightened the need for causative approaches to more deeply understand the mechanism underlying perception, emotion, and aesthetic experiences. This has recently been the topic for empirical work, employing several causative methods for changing brain activity, as well as comparative assessments of individuals with brain damage or disease. However, one area of study with high potential, and indeed a long history of often nonscientific use in the area of aesthetics and art, employing psychopharmacological chemicals as means of changing brain function, has not been systematically utilized. This chapter reviews the literature on this topic, analyzing neuroendocrinological (neurochemical) approaches and mechanisms that might be used to causatively study the aesthetic brain. We focus on four relevant neuromodulatory systems potentially related to aesthetic experience: the dopaminergic, serotonergic, cannabinoid, and the opioidergic system. We build a bridge to psychopharmacological methods and review drug-induced behavioral and neurobiological consequences. We conclude with a discussion of hypotheses and suggestions for future research.

The universal and automatic association between brightness and positivity.

The present study investigates the hypothesis that brightness of colors is associated with positivity, postulating that this is an automatic and universal effect. The Implicit Association Test (IAT; Greenwald, McGhee, & Schwartz, 1998) was used in all studies. Study 1 used color patches varying on brightness, Study 2 used achromatic stimuli to eliminate the potential confounding effects of hue and saturation. Study 3 replicated Study 2 in a different cultural context (Japan vs. Austria), both studies also included a measure of explicit association. All studies confirmed the hypothesis that brightness is associated with positivity, at a significance level of p < .001 and Cohen's D varying from 0.90 to 3.99. Study 1-3 provided support for the notion that this is an automatic effect. Additionally, Study 2 and Study 3 showed that people also have an explicit association of brightness with positivity. However, as expected, our results also show that the implicit association was stronger than the explicit association. Study 3 shows clear support for the universality of our effects. In sum, our results support the idea that brightness is associated with positivity and that these associations are automatic and universal.