2024
Mikuni, Jan; Spee, Blanca T. M.; Forlani, Gaia; Leder, Helmut; Scharnowski, Frank; Nakamura, Koyo; Watanabe, Katsumi; Kawabata, Hideaki; Pelowski, Matthew; Steyrl, David
In: Scientific Reports, vol. 14, no. 1, pp. 15948, 2024, ISSN: 2045-2322.
@article{Mikuni2024_CrossculturalComparisonBeauty,
title = {Cross-cultural comparison of beauty judgments in visual art using machine learning analysis of art attribute predictors among Japanese and German speakers},
author = {Jan Mikuni and Blanca T. M. Spee and Gaia Forlani and Helmut Leder and Frank Scharnowski and Koyo Nakamura and Katsumi Watanabe and Hideaki Kawabata and Matthew Pelowski and David Steyrl},
url = {https://www.nature.com/articles/s41598-024-65088-z},
doi = {10.1038/s41598-024-65088-z},
issn = {2045-2322},
year = {2024},
date = {2024-07-01},
urldate = {2024-07-11},
journal = {Scientific Reports},
volume = {14},
number = {1},
pages = {15948},
abstract = {Abstract
In empirical art research, understanding how viewers judge visual artworks as beautiful is often explored through the study of attributes—specific inherent characteristics or artwork features such as color, complexity, and emotional expressiveness. These attributes form the basis for subjective evaluations, including the judgment of beauty. Building on this conceptual framework, our study examines the beauty judgments of 54 Western artworks made by native Japanese and German speakers, utilizing an extreme randomized trees model—a data-driven machine learning approach—to investigate cross-cultural differences in evaluation behavior. Our analysis of 17 attributes revealed that visual harmony, color variety, valence, and complexity significantly influenced beauty judgments across both cultural cohorts. Notably, preferences for complexity diverged significantly: while the native Japanese speakers found simpler artworks as more beautiful, the native German speakers evaluated more complex artworks as more beautiful. Further cultural distinctions were observed: for the native German speakers, emotional expressiveness was a significant factor, whereas for the native Japanese speakers, attributes such as brushwork, color world, and saturation were more impactful. Our findings illuminate the nuanced role that cultural context plays in shaping aesthetic judgments and demonstrate the utility of machine learning in unravelling these complex dynamics. This research not only advances our understanding of how beauty is judged in visual art—considering self-evaluated attributes—across different cultures but also underscores the potential of machine learning to enhance our comprehension of the aesthetic evaluation of visual artworks.},
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}
Abstract
In empirical art research, understanding how viewers judge visual artworks as beautiful is often explored through the study of attributes—specific inherent characteristics or artwork features such as color, complexity, and emotional expressiveness. These attributes form the basis for subjective evaluations, including the judgment of beauty. Building on this conceptual framework, our study examines the beauty judgments of 54 Western artworks made by native Japanese and German speakers, utilizing an extreme randomized trees model—a data-driven machine learning approach—to investigate cross-cultural differences in evaluation behavior. Our analysis of 17 attributes revealed that visual harmony, color variety, valence, and complexity significantly influenced beauty judgments across both cultural cohorts. Notably, preferences for complexity diverged significantly: while the native Japanese speakers found simpler artworks as more beautiful, the native German speakers evaluated more complex artworks as more beautiful. Further cultural distinctions were observed: for the native German speakers, emotional expressiveness was a significant factor, whereas for the native Japanese speakers, attributes such as brushwork, color world, and saturation were more impactful. Our findings illuminate the nuanced role that cultural context plays in shaping aesthetic judgments and demonstrate the utility of machine learning in unravelling these complex dynamics. This research not only advances our understanding of how beauty is judged in visual art—considering self-evaluated attributes—across different cultures but also underscores the potential of machine learning to enhance our comprehension of the aesthetic evaluation of visual artworks.
In empirical art research, understanding how viewers judge visual artworks as beautiful is often explored through the study of attributes—specific inherent characteristics or artwork features such as color, complexity, and emotional expressiveness. These attributes form the basis for subjective evaluations, including the judgment of beauty. Building on this conceptual framework, our study examines the beauty judgments of 54 Western artworks made by native Japanese and German speakers, utilizing an extreme randomized trees model—a data-driven machine learning approach—to investigate cross-cultural differences in evaluation behavior. Our analysis of 17 attributes revealed that visual harmony, color variety, valence, and complexity significantly influenced beauty judgments across both cultural cohorts. Notably, preferences for complexity diverged significantly: while the native Japanese speakers found simpler artworks as more beautiful, the native German speakers evaluated more complex artworks as more beautiful. Further cultural distinctions were observed: for the native German speakers, emotional expressiveness was a significant factor, whereas for the native Japanese speakers, attributes such as brushwork, color world, and saturation were more impactful. Our findings illuminate the nuanced role that cultural context plays in shaping aesthetic judgments and demonstrate the utility of machine learning in unravelling these complex dynamics. This research not only advances our understanding of how beauty is judged in visual art—considering self-evaluated attributes—across different cultures but also underscores the potential of machine learning to enhance our comprehension of the aesthetic evaluation of visual artworks.
Specker, Eva; Knoll, Anna Lena; Barrière, Tristan; Leder, Helmut
Varieties of Aesthetic Experience. Considering Breadth, Length and Depth Journal Article
In: Nodes, vol. 23, pp. 85–91, 2024, ISSN: 2281-1168.
@article{Specker2024_VarietiesAestheticExperience,
title = {Varieties of Aesthetic Experience. Considering Breadth, Length and Depth},
author = {Eva Specker and Anna Lena Knoll and Tristan Barrière and Helmut Leder},
url = {https://doi.org/10.31234/osf.io/r6jbg},
doi = {http://doi.org/10.57633/NODES-23/2-ENG},
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Specker, Eva; Knoll, Anna Lena; Barrière, Tristan; Leder, Helmut
Le varianti dell’esperienza estetica. Considerazioni sui concetti di ampiezza, durata e profondità Journal Article
In: Nodes, vol. 23, pp. 50–60, 2024, ISSN: 2281-1168.
@article{Specker2024_VariantiEsperienzaEstetica,
title = {Le varianti dell’esperienza estetica. Considerazioni sui concetti di ampiezza, durata e profondità},
author = {Eva Specker and Anna Lena Knoll and Tristan Barrière and Helmut Leder},
url = {doi.org/10.57633/NODES-23/4-ITA},
doi = {doi.org/10.57633/NODES-23/4-ITA},
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Pelowski, Matthew; Angermair, Paula A.; Schmid, Franz R.; Crone, Julia; Spee, Blanca T. M.
Unlocking the Muse: Neue Einblicke zu Kreativität, künstlerischem Ausdruck und Morbus Parkinson Journal Article
In: Psychologie in Österreich, vol. 44, no. 2, pp. 120–127, 2024.
@article{Pelowski2024_UnlockingMuseNeue,
title = {Unlocking the Muse: Neue Einblicke zu Kreativität, künstlerischem Ausdruck und Morbus Parkinson},
author = {Matthew Pelowski and Paula A. Angermair and Franz R. Schmid and Julia Crone and Blanca T. M. Spee},
year = {2024},
date = {2024-07-01},
journal = {Psychologie in Österreich},
volume = {44},
number = {2},
pages = {120–127},
abstract = {German: Nur wenige Aspekte zeichnen die Einzigartigkeit des menschlichen Daseins so aus wie unsere Kreativität und unsere Fähigkeit, Kunst zu schaffen und zu schätzen. Jeder Besuch in einem Museum, oder einer Schulklasse, stellt unter Beweis, welche Bedeutung und Wertschätzung wir Kunst und Künstler*innen entgegenbringen. Kreative und ästhetische Prozesse sind jedoch vielschichtig und komplex und werfen elementare wissenschaftliche
Fragen auf: Was macht Kunstschaffende aus? Wie
können wir etwas Neues, Schönes oder visuell Ansprechendes entstehen lassen? Wieso und inwiefern sind manche kreativer oder geschickter als andere? Wo – in unserem Lebensstil, unseren Kulturen, unseren Erfahrungen, unseren Gehirnen und Körpern – versteckt sich die Muse? In diesem Artikel besprechen wir ein Projekt, das Antworten auf diese Fragen geben könnte – durch die Erforschung der Schnittstelle zwischen Kreativität, künstlerischem Ausdruck und Morbus Parkinson.
English:
Few domains so saliently distinguish the uniqueness
of humans as that of our creativity and especially our
propensity to make and appreciate art. Any visit to a
museum, or an elementary school classroom, will also confirm our special respect and importance given to art and artists. However, because of the complexity and nuance in art making and enjoyment, this also raises very basic questions that science is still trying to address: What makes an artist? How do we create something novel, beautiful, or visually compelling? Why and how are some more skilled at making art or are more creative than others? What is the basis – in our lifestyles, our cultures, our experiences, or our brains and bodies – for the artistic spark? In this article, we discuss a project that may provide new answers to these questions – involving a relationship between creativity, artistic expression, and Parkinson’s Disease.},
keywords = {},
pubstate = {published},
tppubtype = {article}
}
German: Nur wenige Aspekte zeichnen die Einzigartigkeit des menschlichen Daseins so aus wie unsere Kreativität und unsere Fähigkeit, Kunst zu schaffen und zu schätzen. Jeder Besuch in einem Museum, oder einer Schulklasse, stellt unter Beweis, welche Bedeutung und Wertschätzung wir Kunst und Künstler*innen entgegenbringen. Kreative und ästhetische Prozesse sind jedoch vielschichtig und komplex und werfen elementare wissenschaftliche
Fragen auf: Was macht Kunstschaffende aus? Wie
können wir etwas Neues, Schönes oder visuell Ansprechendes entstehen lassen? Wieso und inwiefern sind manche kreativer oder geschickter als andere? Wo – in unserem Lebensstil, unseren Kulturen, unseren Erfahrungen, unseren Gehirnen und Körpern – versteckt sich die Muse? In diesem Artikel besprechen wir ein Projekt, das Antworten auf diese Fragen geben könnte – durch die Erforschung der Schnittstelle zwischen Kreativität, künstlerischem Ausdruck und Morbus Parkinson.
English:
Few domains so saliently distinguish the uniqueness
of humans as that of our creativity and especially our
propensity to make and appreciate art. Any visit to a
museum, or an elementary school classroom, will also confirm our special respect and importance given to art and artists. However, because of the complexity and nuance in art making and enjoyment, this also raises very basic questions that science is still trying to address: What makes an artist? How do we create something novel, beautiful, or visually compelling? Why and how are some more skilled at making art or are more creative than others? What is the basis – in our lifestyles, our cultures, our experiences, or our brains and bodies – for the artistic spark? In this article, we discuss a project that may provide new answers to these questions – involving a relationship between creativity, artistic expression, and Parkinson’s Disease.
Fragen auf: Was macht Kunstschaffende aus? Wie
können wir etwas Neues, Schönes oder visuell Ansprechendes entstehen lassen? Wieso und inwiefern sind manche kreativer oder geschickter als andere? Wo – in unserem Lebensstil, unseren Kulturen, unseren Erfahrungen, unseren Gehirnen und Körpern – versteckt sich die Muse? In diesem Artikel besprechen wir ein Projekt, das Antworten auf diese Fragen geben könnte – durch die Erforschung der Schnittstelle zwischen Kreativität, künstlerischem Ausdruck und Morbus Parkinson.
English:
Few domains so saliently distinguish the uniqueness
of humans as that of our creativity and especially our
propensity to make and appreciate art. Any visit to a
museum, or an elementary school classroom, will also confirm our special respect and importance given to art and artists. However, because of the complexity and nuance in art making and enjoyment, this also raises very basic questions that science is still trying to address: What makes an artist? How do we create something novel, beautiful, or visually compelling? Why and how are some more skilled at making art or are more creative than others? What is the basis – in our lifestyles, our cultures, our experiences, or our brains and bodies – for the artistic spark? In this article, we discuss a project that may provide new answers to these questions – involving a relationship between creativity, artistic expression, and Parkinson’s Disease.
Rodriguez, Rebekah M.; Fekete, Anna; Silvia, Paul J.; Cotter, Katherine N.
The art of feeling different: Exploring the diversity of emotions experienced during an art museum visit. Journal Article
In: Psychology of Aesthetics, Creativity, and the Arts, vol. 18, no. 3, pp. 303–314, 2024, ISSN: 1931-390X, 1931-3896.
@article{Rodriguez2024_ArtFeelingDifferent,
title = {The art of feeling different: Exploring the diversity of emotions experienced during an art museum visit.},
author = {Rebekah M. Rodriguez and Anna Fekete and Paul J. Silvia and Katherine N. Cotter},
url = {https://doi.apa.org/doi/10.1037/aca0000443},
doi = {10.1037/aca0000443},
issn = {1931-390X, 1931-3896},
year = {2024},
date = {2024-06-01},
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Specker, Eva
Review of the Routledge International Handbook of Neuroaesthetics. Journal Article
In: Psychology of Aesthetics, Creativity, and the Arts, vol. 18, no. 3, pp. 464–464, 2024, ISSN: 1931-390X, 1931-3896.
@article{Specker2024_ReviewRoutledgeInternational,
title = {Review of the Routledge International Handbook of Neuroaesthetics.},
author = {Eva Specker},
url = {https://doi.apa.org/doi/10.1037/aca0000632},
doi = {10.1037/aca0000632},
issn = {1931-390X, 1931-3896},
year = {2024},
date = {2024-06-01},
urldate = {2024-07-01},
journal = {Psychology of Aesthetics, Creativity, and the Arts},
volume = {18},
number = {3},
pages = {464–464},
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Knoll, Anna Lena; Barrière, Tristan; Weigand, Rosalie; Jacobsen, Thomas; Leder, Helmut; Specker, Eva
Experiencing beauty in everyday life Journal Article
In: Scientific Reports, vol. 14, no. 1, pp. 9463, 2024, ISSN: 2045-2322.
@article{Knoll2024_ExperiencingBeautyEveryday,
title = {Experiencing beauty in everyday life},
author = {Anna Lena Knoll and Tristan Barrière and Rosalie Weigand and Thomas Jacobsen and Helmut Leder and Eva Specker},
url = {https://www.nature.com/articles/s41598-024-60091-w},
doi = {10.1038/s41598-024-60091-w},
issn = {2045-2322},
year = {2024},
date = {2024-04-01},
urldate = {2024-04-25},
journal = {Scientific Reports},
volume = {14},
number = {1},
pages = {9463},
abstract = {Abstract
Beauty surrounds us in many ways every day. In three experience sampling (ESM) studies we investigated frequency, category of eliciting stimuli (natural vs human-made) and, the potential moderating role of several individual difference measures on such everyday experiences of beauty in an ecologically valid manner. Further, we explored the impact of such experiences on valence & arousal. Study 1 re-analysed data from a previous study, in line with the current aims. In Studies 2 and 3, we asked participants to report daily experiences of beauty using a mixed random and event-contingent sampling schedule. Mobile notifications (random sampling) prompted participants to take a photo and rate the beauty of their surroundings. Further, current valence and arousal were assessed. Notification frequency and total days of participation differed between these two studies. Participants were able to report additional experiences outside of the notification windows (event-contingent sampling). Our results indicate that we frequently encounter beauty in everyday life and that we find it in nature, in particular. Our results further suggest a mood-boosting effect of encounters with beauty. Lastly, our results indicate influences of individual differences however, these were inconclusive and require further attention.},
keywords = {},
pubstate = {published},
tppubtype = {article}
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Abstract
Beauty surrounds us in many ways every day. In three experience sampling (ESM) studies we investigated frequency, category of eliciting stimuli (natural vs human-made) and, the potential moderating role of several individual difference measures on such everyday experiences of beauty in an ecologically valid manner. Further, we explored the impact of such experiences on valence & arousal. Study 1 re-analysed data from a previous study, in line with the current aims. In Studies 2 and 3, we asked participants to report daily experiences of beauty using a mixed random and event-contingent sampling schedule. Mobile notifications (random sampling) prompted participants to take a photo and rate the beauty of their surroundings. Further, current valence and arousal were assessed. Notification frequency and total days of participation differed between these two studies. Participants were able to report additional experiences outside of the notification windows (event-contingent sampling). Our results indicate that we frequently encounter beauty in everyday life and that we find it in nature, in particular. Our results further suggest a mood-boosting effect of encounters with beauty. Lastly, our results indicate influences of individual differences however, these were inconclusive and require further attention.
Beauty surrounds us in many ways every day. In three experience sampling (ESM) studies we investigated frequency, category of eliciting stimuli (natural vs human-made) and, the potential moderating role of several individual difference measures on such everyday experiences of beauty in an ecologically valid manner. Further, we explored the impact of such experiences on valence & arousal. Study 1 re-analysed data from a previous study, in line with the current aims. In Studies 2 and 3, we asked participants to report daily experiences of beauty using a mixed random and event-contingent sampling schedule. Mobile notifications (random sampling) prompted participants to take a photo and rate the beauty of their surroundings. Further, current valence and arousal were assessed. Notification frequency and total days of participation differed between these two studies. Participants were able to report additional experiences outside of the notification windows (event-contingent sampling). Our results indicate that we frequently encounter beauty in everyday life and that we find it in nature, in particular. Our results further suggest a mood-boosting effect of encounters with beauty. Lastly, our results indicate influences of individual differences however, these were inconclusive and require further attention.
Spee, Blanca T. M.; Arato, Jozsef; Mikuni, Jan; Tran, Ulrich S.; Pelowski, Matthew; Leder, Helmut
In: Frontiers in Psychology, vol. 15, pp. 1192565, 2024, ISSN: 1664-1078.
@article{Spee2024_DynamicsExperiencingGestalt,
title = {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},
author = {Blanca T. M. Spee and Jozsef Arato and Jan Mikuni and Ulrich S. Tran and Matthew Pelowski and Helmut Leder},
url = {https://www.frontiersin.org/articles/10.3389/fpsyg.2024.1192565/full},
doi = {10.3389/fpsyg.2024.1192565},
issn = {1664-1078},
year = {2024},
date = {2024-03-01},
urldate = {2024-05-31},
journal = {Frontiers in Psychology},
volume = {15},
pages = {1192565},
abstract = {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.},
keywords = {},
pubstate = {published},
tppubtype = {article}
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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.
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.
Pelowski, Matthew; Spee, Blanca T. M.; Arato, Jozsef; Dörflinger, Felix; Ishizu, Tomohiro; Richard, Alby
Measures, constructs, and constructing measurement: Reply to comments on “Can we really ‘read’ art to see the changing brain?” Journal Article
In: Physics of Life Reviews, vol. 48, pp. 22–30, 2024, ISSN: 1571-0645.
@article{d5d1781383974a9e8fb0bdab1b70bc9c,
title = {Measures, constructs, and constructing measurement: Reply to comments on “Can we really ‘read’ art to see the changing brain?”},
author = {Matthew Pelowski and Blanca T. M. Spee and Jozsef Arato and Felix Dörflinger and Tomohiro Ishizu and Alby Richard},
doi = {10.1016/j.plrev.2023.11.012},
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journal = {Physics of Life Reviews},
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abstract = {This project was conceived, from the start, as merely a beginning. Or, perhaps more truthfully, this was a messy jump right into the middle of a burgeoning body of scholarship, touching-intimately if not systematically-a wide number of fields and interests. The basic material of this topic, at least for ourselves, for many authors, and, we are pleased to note, for many Commentaries, immediately foretells its intrigue: putatively suggesting that there are, there might be, or at least it might be worth exploring whether there are, salient connections linking artistic production and brain function, and which might be revealed through observable changes in the artworks of individuals with neurodegenerative disease.},
keywords = {},
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This project was conceived, from the start, as merely a beginning. Or, perhaps more truthfully, this was a messy jump right into the middle of a burgeoning body of scholarship, touching-intimately if not systematically-a wide number of fields and interests. The basic material of this topic, at least for ourselves, for many authors, and, we are pleased to note, for many Commentaries, immediately foretells its intrigue: putatively suggesting that there are, there might be, or at least it might be worth exploring whether there are, salient connections linking artistic production and brain function, and which might be revealed through observable changes in the artworks of individuals with neurodegenerative disease.
Stamkou, Eftychia; Dunham, Rohan; Pelowski, Matthew; Lin, Ying; Gelfand, Michele J.
When rule breaking in art falls flat: Cultural tightness deflates deviant artists’ impact. Journal Article
In: Psychology of Aesthetics, Creativity, and the Arts, vol. 18, no. 1, pp. 14–30, 2024, ISSN: 1931-390X, 1931-3896.
@article{Stamkou2024_WhenRuleBreaking,
title = {When rule breaking in art falls flat: Cultural tightness deflates deviant artists’ impact.},
author = {Eftychia Stamkou and Rohan Dunham and Matthew Pelowski and Ying Lin and Michele J. Gelfand},
url = {https://doi.apa.org/doi/10.1037/aca0000650},
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Benvenuti, Martina; Scorolli, Claudia; Iorio, Angelo Di; Pelowski, Matthew; Chirico, Alice
Emerging technologies in varied domains: Perspectives and future research directions Journal Article
In: Computers in Human Behavior, vol. 151, 2024, ISSN: 0747-5632.
@article{5dd539b399734d1ba996f293114cdd6c,
title = {Emerging technologies in varied domains: Perspectives and future research directions},
author = {Martina Benvenuti and Claudia Scorolli and Angelo Di Iorio and Matthew Pelowski and Alice Chirico},
doi = {10.1016/j.chb.2023.108016},
issn = {0747-5632},
year = {2024},
date = {2024-02-01},
urldate = {2024-02-01},
journal = {Computers in Human Behavior},
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Leder, Helmut; Pelowski, Matthew
Metaphors or mechanism?: Predictive coding and a (brief) history of empirical study of the arts Journal Article
In: Philosophical Transactions of the Royal Society of London. Biological Sciences, vol. 379, no. 1895, 2024, ISSN: 0962-8436.
@article{1ce70e3f70f6425da62c9a4d3d903aba,
title = {Metaphors or mechanism?: Predictive coding and a (brief) history of empirical study of the arts},
author = {Helmut Leder and Matthew Pelowski},
doi = {10.1098/rstb.2022.0427},
issn = {0962-8436},
year = {2024},
date = {2024-01-29},
urldate = {2024-01-29},
journal = {Philosophical Transactions of the Royal Society of London. Biological Sciences},
volume = {379},
number = {1895},
publisher = {ROYAL SOC LONDON},
abstract = {Predictive processing (PP) offers an intriguing approach to perception, cognition, but also to appreciation of the arts. It does this by positing both a theoretical basis - one might say a 'metaphor' - for how we engage and respond, placing emphasis on mismatches rather than fluent overlap between schema and environment. Even more, it holds the promise for translating metaphor into neurobiological bases, suggesting a means for considering mechanisms - from basic perceptions to possibly even our complex, aesthetic experiences. However, while we share the excitement of this promise, the history of empirical or psychological aesthetics is also permeated by metaphors that have progressed our understanding but which also tend to elude translation into concrete, mechanistic operationalization - a challenge that can also be made to PP. We briefly consider this difficulty of convincing implementation of PP via a brief historical outline of some developments in the psychological study of aesthetics and art in order to show how these ideas have often anticipated PP but also how they have remained at the level of rather metaphorical and difficult-to-measure concepts. Although theoretical in scope, we hope that this commentary will spur researchers to reflect on PP with the aim of translating metaphorical explanations into well-defined mechanisms in future empirical study. This article is part of the theme issue Árt, aesthetics and predictive processing: theoretical and empirical perspectives'.},
keywords = {},
pubstate = {published},
tppubtype = {article}
}
Predictive processing (PP) offers an intriguing approach to perception, cognition, but also to appreciation of the arts. It does this by positing both a theoretical basis – one might say a ‘metaphor’ – for how we engage and respond, placing emphasis on mismatches rather than fluent overlap between schema and environment. Even more, it holds the promise for translating metaphor into neurobiological bases, suggesting a means for considering mechanisms – from basic perceptions to possibly even our complex, aesthetic experiences. However, while we share the excitement of this promise, the history of empirical or psychological aesthetics is also permeated by metaphors that have progressed our understanding but which also tend to elude translation into concrete, mechanistic operationalization – a challenge that can also be made to PP. We briefly consider this difficulty of convincing implementation of PP via a brief historical outline of some developments in the psychological study of aesthetics and art in order to show how these ideas have often anticipated PP but also how they have remained at the level of rather metaphorical and difficult-to-measure concepts. Although theoretical in scope, we hope that this commentary will spur researchers to reflect on PP with the aim of translating metaphorical explanations into well-defined mechanisms in future empirical study. This article is part of the theme issue Árt, aesthetics and predictive processing: theoretical and empirical perspectives’.
Mikuni, Jan; Dehove, Margot; Dörrzapf, Linda; Moser, Martin Karl; Resch, Bernd; Böhm, Pia; Prager, Katharina; Podolin, Nikita; Oberzaucher, Elisabeth; Leder, Helmut
2024.
@misc{Mikuni2024_ArtCityEnhances,
title = {Art in the City Enhances Subjective Well-Being: A Field Study Examining the Impact of Artistic Intervention in Urban Public Space on Well-Being.},
author = {Jan Mikuni and Margot Dehove and Linda Dörrzapf and Martin Karl Moser and Bernd Resch and Pia Böhm and Katharina Prager and Nikita Podolin and Elisabeth Oberzaucher and Helmut Leder},
url = {https://www.ssrn.com/abstract=4643541},
doi = {10.2139/ssrn.4643541},
year = {2024},
date = {2024-01-01},
urldate = {2024-07-10},
keywords = {},
pubstate = {published},
tppubtype = {misc}
}
Kühnapfel, Corinna; Fingerhut, Joerg; Brinkmann, Hanna; Ganster, Victoria; Tanaka, Takumi; Specker, Eva; Mikuni, Jan; Güldenpfennig, Florian; Gartus, Andreas; Rosenberg, Raphael; Pelowski, Matthew
In: Empirical Studies of the Arts, vol. 42, no. 1, pp. 86–146, 2024, ISSN: 0276-2374.
@article{472d399f79174deaabd9be40fdbb2363,
title = {How Do We Move in Front of Art? How Does This Relate to Art Experience?: Linking Movement, Eye Tracking, Emotion, and Evaluations in a Gallery-Like Setting},
author = {Corinna Kühnapfel and Joerg Fingerhut and Hanna Brinkmann and Victoria Ganster and Takumi Tanaka and Eva Specker and Jan Mikuni and Florian Güldenpfennig and Andreas Gartus and Raphael Rosenberg and Matthew Pelowski},
doi = {https://doi.org/10.1177/02762374231160000},
issn = {0276-2374},
year = {2024},
date = {2024-01-01},
journal = {Empirical Studies of the Arts},
volume = {42},
number = {1},
pages = {86--146},
abstract = {Embodied cognition claims that how we move our body is central for experience. Exploring dimensions of bodily engagement should, therefore, also be central for engaging art. However, little attention has been paid to the actual ways viewers move in front of art and how this impacts experiences. We aim to close this gap, using a new paradigm in a gallery-like setting in which we tracked movements of participants that engaged an abstract artwork. Guided by a literature review, we relate objective movement factors and subjective body awareness to mobile viewing behavior, art experience, and expertise. We also—for the first time—define shared movement patterns employing principal component/cluster analysis and relate these to experience outcomes, noting, for example, that moving more/more dynamically related to more reported insight. As a proof-of-concept paper, we hope to support a more embodied, enactive understanding of art engagements, and provide practical guidelines for future research.},
keywords = {},
pubstate = {published},
tppubtype = {article}
}
Embodied cognition claims that how we move our body is central for experience. Exploring dimensions of bodily engagement should, therefore, also be central for engaging art. However, little attention has been paid to the actual ways viewers move in front of art and how this impacts experiences. We aim to close this gap, using a new paradigm in a gallery-like setting in which we tracked movements of participants that engaged an abstract artwork. Guided by a literature review, we relate objective movement factors and subjective body awareness to mobile viewing behavior, art experience, and expertise. We also—for the first time—define shared movement patterns employing principal component/cluster analysis and relate these to experience outcomes, noting, for example, that moving more/more dynamically related to more reported insight. As a proof-of-concept paper, we hope to support a more embodied, enactive understanding of art engagements, and provide practical guidelines for future research.
Weingarden, Lauren S.; Pelowski, Matthew; Kühnapfel, Corinna
Embodying the photographic image: Charles Marville’s Old Paris and New Paris series Book Chapter
In: Kayser, Christine Vial (Ed.): Art as Experience of the Living Body", pp. 261–291, Vernon Press, 1, 2024, ISBN: 9781648896064.
@inbook{07813ca49a6946f98e33721876bee6b1,
title = {Embodying the photographic image: Charles Marville’s Old Paris and New Paris series},
author = {Lauren S. Weingarden and Matthew Pelowski and Corinna Kühnapfel},
editor = {Christine Vial Kayser},
isbn = {9781648896064},
year = {2024},
date = {2024-01-01},
urldate = {2024-01-01},
booktitle = {Art as Experience of the Living Body"},
pages = {261--291},
publisher = {Vernon Press},
edition = {1},
abstract = {French photographer Charles Marville was first commissioned by the city to photograph the soon-to-be demolished neighbourhoods and buildings of old Paris (1864-69,) and, subsequently, to document the buildings and boulevards of new Paris (1877) during Haussmannization, the urban renewal project to modernise Paris initiated by Napoleon III. These dual commissions coincided with a number of technical and formal changes in the photographer’s approach, and in turn, elicited distinct responses, from the viewers at the time, or modern curators, suggesting a change in presumed embodied and affective reactions. This chapter examines if and how the photographic image triggers associative affects and physical effects in the viewer in accordance with their mnemonic and aesthetic functions. It answers these questions by blending research and methodologies from art history (first and second part) and empirical aesthetic (third part.)},
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pubstate = {published},
tppubtype = {inbook}
}
French photographer Charles Marville was first commissioned by the city to photograph the soon-to-be demolished neighbourhoods and buildings of old Paris (1864-69,) and, subsequently, to document the buildings and boulevards of new Paris (1877) during Haussmannization, the urban renewal project to modernise Paris initiated by Napoleon III. These dual commissions coincided with a number of technical and formal changes in the photographer’s approach, and in turn, elicited distinct responses, from the viewers at the time, or modern curators, suggesting a change in presumed embodied and affective reactions. This chapter examines if and how the photographic image triggers associative affects and physical effects in the viewer in accordance with their mnemonic and aesthetic functions. It answers these questions by blending research and methodologies from art history (first and second part) and empirical aesthetic (third part.)