Updating the Aesthetic Fluency Scale: Revised long and short forms for research in the psychology of the arts.

People's knowledge about the arts shapes how they experience and engage with art. Since its introduction, the 10-item Aesthetic Fluency Scale has been widely used to measure self-reported art knowledge. Drawing from findings and researchers' experience since then, the present work develops and evaluates a Revised Aesthetic Fluency Scale using item response theory to broaden its scope (36 items) and refine its response scale. In a large sample (n = 2,089 English-speaking adults), Study 1 found strong evidence for unidimensionality, good item fit, and a difficulty level suitable for its targeted population; Study 2 (n = 392) provided initial evidence for score validity via relationships with art engagement, Openness to Experience, and aesthetic responsiveness; and Study 3 derived a brief, 10-item form for time-constrained projects. Taken together, the revised scales build upon lessons learned from the original and appear promising for the next generation of research.

Examining the Flourishing Impacts of Repeated Visits to a Virtual Art Museum and the Role of Immersion.

Visiting art museums has been associated with a range of flourishing outcomes. However, there have been recent shifts towards increasing digital engagement with art, leading to a radical change in how people experience visual art. Given the now expansive virtual art viewing options, it is important to understand whether digital engagement can also lead to greater flourishing, and, if so, under what conditions. We examined the flourishing effects of viewing art in a virtual gallery in a pre-registered experiment comprising four sessions over four weeks, with varying viewing instructions designed to increase immersion. Participants were recruited from a USA representative sample on Prolific, resulting in a final sample of 687 participants. People were randomly assigned to one of nine experimental conditions. Eight art viewing conditions involved four 15 min virtual gallery visits with viewing instructions varying on two factors: slow-looking and immersive mindset framing. An active control condition involved reading about (but not viewing) art. Participants completed a battery of baseline flourishing measures in week 1, completed experimental art engagement sessions during weeks 1-4, and completed the battery again in week 5. While immersion levels were greater in the viewing conditions than the reading condition, growth in flourishing did not differ across condition. Exploratory analyses, however, showed that immersion during the gallery visits did predict some changes in specific facets of flourishing (e.g., engagement, meaning, autonomy satisfaction). We suggest a number of possible explanations for these null results and point to what is needed in future research.

Aesthetic Preference for Glossy Materials: An Attempted Replication and Extension.

The psychology of art and aesthetics has a long-standing interest in how low-level features, such as symmetry, curvature, and color, affect people's aesthetic experience. Recent research in this tradition suggests that people find glossy, shiny objects and materials more attractive than flat, matte ones. The present experiment sought to replicate and extend research on the attractiveness of images printed on glossy and flat paper. To control for several possible confounding factors, glossiness was manipulated between-person and varied with methods that held constant factors like weight, color quality, and resolution. To extend past work, we explored art expertise and Openness to Experience as potential moderators. A sample of 100 adults viewed landscape photographs on either high-gloss photo paper or on identical paper in which a flat, matte spray finish had been applied. Ratings of attractiveness showed weak evidence for replication. People rated the glossy pictures as more attractive than the matte ones, but the effect size was small (d = -0.23 [-0.62, 0.16]) and not statistically significant. Attractiveness ratings were significantly moderated, however, by individual differences in the aesthetic appreciation facet of Openness to Experience. When aesthetic appreciation was high, people found the images attractive regardless of condition; when it was low, people strongly preferred the glossy images over the matte ones, thus showing the classic glossiness effect. We conclude with some methodological caveats for future research.

Mental Control in Musical Imagery: A Dual Component Model.

Hearing music in your head is a ubiquitous experience, but the role mental control plays in these experiences has not been deeply addressed. In this conceptual analysis, a dual-component model of mental control in musical imagery experiences is developed and discussed. The first component, initiation, refers to whether the musical imagery experience began voluntarily or involuntarily. The second component, management, refers to instances of control that occur after the experience has begun (e.g., changing the song, stopping the experience). Given the complex nature of this inner experience, we propose a new model combining and integrating four literatures: lab-based auditory imagery research using musical stimuli; involuntary musical imagery; mental rehearsal and composition in musicians; and in vivo studies of musical imagery in everyday environments. These literatures support the contention that mental control of musical imagery is multi-faceted. Future research should investigate these two components of mental control and better integrate the diverse literatures on musical imagery.

Reopening Openness to Experience: A Network Analysis of Four Openness to Experience Inventories.

Openness to Experience is a complex trait, the taxonomic structure of which has been widely debated. Previous research has provided greater clarity of its lower order structure by synthesizing facets across several scales related to Openness to Experience. In this study, we take a finer grained approach by investigating the item-level relations of four Openness to Experience inventories (Big Five Aspects Scale, HEXACO-100, NEO PI-3, and Woo et al.'s Openness to Experience Inventory), using a network science approach, which allowed items to form an emergent taxonomy of facets and aspects. Our results (N = 802) identified 10 distinct facets (variety-seeking, aesthetic appreciation, intellectual curiosity, diversity, openness to emotions, fantasy, imaginative, self-assessed intelligence, intellectual interests, and nontraditionalism) that largely replicate previous findings as well as three higher order aspects: two that are commonly found in the literature (intellect and experiencing; i.e., openness), and one novel aspect (open-mindedness). In addition, we demonstrate that each Openness to Experience inventory offers a unique conceptualization of the trait, and that some inventories provide broader coverage of the network space than others. Our findings establish a broader consensus of Openness to Experience at the aspect and facet level, which has important implications for researchers and the Openness to Experience inventories they use.

Curve Appeal: Exploring Individual Differences in Preference for Curved Versus Angular Objects.

A preference for smooth curvature, as opposed to angularity, is a well-established finding for lines, two-dimensional shapes, and complex objects, but little is known about individual differences. We used two-dimensional black-and-white shapes-randomly generated irregular polygons, and arrays of circles and hexagons-and measured many individual differences, including artistic expertise, personality, and cognitive style. As expected, people preferred curved over angular stimuli, and people's degree of curvature preference correlated across the two sets of shapes. Multilevel models showed varying patterns of interaction between shape and individual differences. For the irregular polygons, people higher in artistic expertise or openness to experience showed a greater preference for curvature. This pattern was not evident for the arrays of circles and hexagons. We discuss the results in relation to the nature of the stimuli, and we conclude that individual differences do play a role in moderating the preference for smooth curvature.

Commentary: The Development of Creativity--Ability, Motivation, and Potential.

A major question for research on the development of creativity is whether it is interested in creative potential (a prospective approach that uses measures early in life to predict adult creativity) or in children's creativity for its own sake. We suggest that a focus on potential for future creativity diminishes the fascinating creative world of childhood. The contributions to this issue can be organized in light of an ability × motivation framework, which offers a fruitful way for thinking about the many factors that foster and impede creativity. The contributions reflect a renewed interest in the development of creativity and highlight how this area can illuminate broader problems in creativity studies.