2024
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.},
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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.
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{knoll_experiencing_2024,
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.},
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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.
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},
issn = {1571-0645},
year = {2024},
date = {2024-03-01},
journal = {Physics of Life Reviews},
volume = {48},
pages = {22--30},
publisher = {ELSEVIER SCIENCE BV},
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.},
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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.
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},
volume = {151},
publisher = {Elsevier},
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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'.},
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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’.
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},
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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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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.)
2023
Krumpholz, Christina; Quigley, Cliodhna; Fusani, Leonida; Leder, Helmut
Vienna Talking Faces (ViTaFa): A multimodal person database with synchronized videos, images, and voices Journal Article
In: Behavior Research Methods, 2023, ISSN: 1554-351X.
@article{f3f301fe38124247913f25fbe5d72e10,
title = {Vienna Talking Faces (ViTaFa): A multimodal person database with synchronized videos, images, and voices},
author = {Christina Krumpholz and Cliodhna Quigley and Leonida Fusani and Helmut Leder},
doi = {10.3758/s13428-023-02264-5},
issn = {1554-351X},
year = {2023},
date = {2023-11-10},
journal = {Behavior Research Methods},
abstract = {Social perception relies on different sensory channels, including vision and audition, which are specifically important for judgements of appearance. Therefore, to understand multimodal integration in person perception, it is important to study both face and voice in a synchronized form. We introduce the Vienna Talking Faces (ViTaFa) database, a high-quality audiovisual database focused on multimodal research of social perception. ViTaFa includes different stimulus modalities: audiovisual dynamic, visual dynamic, visual static, and auditory dynamic. Stimuli were recorded and edited under highly standardized conditions and were collected from 40 real individuals, and the sample matches typical student samples in psychological research (young individuals aged 18 to 45). Stimuli include sequences of various types of spoken content from each person, including German sentences, words, reading passages, vowels, and language-unrelated pseudo-words. Recordings were made with different emotional expressions (neutral, happy, angry, sad, and flirtatious). ViTaFa is freely accessible for academic non-profit research after signing a confidentiality agreement form via https://osf.io/9jtzx/ and stands out from other databases due to its multimodal format, high quality, and comprehensive quantification of stimulus features and human judgements related to attractiveness. Additionally, over 200 human raters validated emotion expression of the stimuli. In summary, ViTaFa provides a valuable resource for investigating audiovisual signals of social perception.},
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Social perception relies on different sensory channels, including vision and audition, which are specifically important for judgements of appearance. Therefore, to understand multimodal integration in person perception, it is important to study both face and voice in a synchronized form. We introduce the Vienna Talking Faces (ViTaFa) database, a high-quality audiovisual database focused on multimodal research of social perception. ViTaFa includes different stimulus modalities: audiovisual dynamic, visual dynamic, visual static, and auditory dynamic. Stimuli were recorded and edited under highly standardized conditions and were collected from 40 real individuals, and the sample matches typical student samples in psychological research (young individuals aged 18 to 45). Stimuli include sequences of various types of spoken content from each person, including German sentences, words, reading passages, vowels, and language-unrelated pseudo-words. Recordings were made with different emotional expressions (neutral, happy, angry, sad, and flirtatious). ViTaFa is freely accessible for academic non-profit research after signing a confidentiality agreement form via https://osf.io/9jtzx/ and stands out from other databases due to its multimodal format, high quality, and comprehensive quantification of stimulus features and human judgements related to attractiveness. Additionally, over 200 human raters validated emotion expression of the stimuli. In summary, ViTaFa provides a valuable resource for investigating audiovisual signals of social perception.
Specker, Eva
A Personal Perspective on Psychology of Aesthetics and the Arts: Ecologically Valid, Interdisciplinary, and Diverse Methodologies Journal Article
In: Creativity Research Journal, pp. 1–8, 2023, ISSN: 1040-0419, 1532-6934.
@article{specker_personal_2023,
title = {A Personal Perspective on Psychology of Aesthetics and the Arts: Ecologically Valid, Interdisciplinary, and Diverse Methodologies},
author = {Eva Specker},
url = {https://www.tandfonline.com/doi/full/10.1080/10400419.2023.2269339},
doi = {10.1080/10400419.2023.2269339},
issn = {1040-0419, 1532-6934},
year = {2023},
date = {2023-11-01},
urldate = {2024-02-28},
journal = {Creativity Research Journal},
pages = {1–8},
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Demmer, Theresa Rahel; Kühnapfel, Corinna; Fingerhut, Joerg; Pelowski, Matthew
In: Computers in Human Behavior, vol. 148, 2023, ISSN: 0747-5632.
@article{73e33fdc7f6742699da9aa659d7bdea1,
title = {Does an emotional connection to art really require a human artist? Emotion and intentionality responses to AI- versus human-created art and impact on aesthetic experience},
author = {Theresa Rahel Demmer and Corinna Kühnapfel and Joerg Fingerhut and Matthew Pelowski},
doi = {10.1016/j.chb.2023.107875},
issn = {0747-5632},
year = {2023},
date = {2023-11-01},
journal = {Computers in Human Behavior},
volume = {148},
publisher = {Elsevier},
abstract = {ÄI has captured the artworld, and, and, progressively, is reshaping the way humans interact with various forms of media. Computer-generated art sells for millions at auctions; artists routinely use algorithms to generate aesthetic materials. However, to capture the impact of such works and our relationships with them, we need to better understand the kinds of responses we make to AI/computer-generated images. Here, we consider whether and, if so, to what extent humans report feeling emotions when engaging computer-generated art, or even ascribe intentionality behind those feelings. These are emerging—and also long-standing—points of controversy, with critical arguments that this should not occur, thus marking potential distinctions between artificial and ‘real’ human productions. We tested this by employing visually similar abstract, black-and-white artworks, made by a computer (RNG) or by human artists intentionally aiming at transmitting emotions. In a 2 × 2 design, participants (N = 48) viewed the art, preceded by primes about human/computer provenance (true, 50% of cases). Contrary to critical suggestions, participants almost always not only reported emotions but also ascribed intentionality, independent of the prime given. Interestingly, they did report stronger emotions when the work actually was made by a human. We discuss implications for our understanding of art engagements and future developments regarding computer-generated digital interactions."},
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ÄI has captured the artworld, and, and, progressively, is reshaping the way humans interact with various forms of media. Computer-generated art sells for millions at auctions; artists routinely use algorithms to generate aesthetic materials. However, to capture the impact of such works and our relationships with them, we need to better understand the kinds of responses we make to AI/computer-generated images. Here, we consider whether and, if so, to what extent humans report feeling emotions when engaging computer-generated art, or even ascribe intentionality behind those feelings. These are emerging—and also long-standing—points of controversy, with critical arguments that this should not occur, thus marking potential distinctions between artificial and ‘real’ human productions. We tested this by employing visually similar abstract, black-and-white artworks, made by a computer (RNG) or by human artists intentionally aiming at transmitting emotions. In a 2 × 2 design, participants (N = 48) viewed the art, preceded by primes about human/computer provenance (true, 50% of cases). Contrary to critical suggestions, participants almost always not only reported emotions but also ascribed intentionality, independent of the prime given. Interestingly, they did report stronger emotions when the work actually was made by a human. We discuss implications for our understanding of art engagements and future developments regarding computer-generated digital interactions.”
Valuch, Christian; Pelowski, Matthew; Peltoketo, Veli-Tapani; Hakala, Jussi; Leder, Helmut
Let’s put a smile on that face-A positive facial expression improves aesthetics of portrait photographs Journal Article
In: The Royal Society Open Science, vol. 10, no. 10, pp. 230413, 2023, ISSN: 2054-5703.
@article{3ba8a02dd5714dcfa239f0e015f733ee,
title = {Let's put a smile on that face-A positive facial expression improves aesthetics of portrait photographs},
author = {Christian Valuch and Matthew Pelowski and Veli-Tapani Peltoketo and Jussi Hakala and Helmut Leder},
doi = {10.1098/rsos.230413},
issn = {2054-5703},
year = {2023},
date = {2023-10-25},
journal = {The Royal Society Open Science},
volume = {10},
number = {10},
pages = {230413},
publisher = {ROYAL SOC LONDON},
abstract = {In today's age of social media and smartphones, portraits-such as selfies or pictures of friends and family-are very frequently produced, shared and viewed images. Despite their prevalence, the psychological factors that characterize a 'good' photo-one that people will generally like, keep, and think is especially aesthetically pleasing-are not well understood. Here, we studied how a subtle change in facial expression (smiling) in portraits determines their aesthetic image value (beyond a more positive appearance of the depicted person). We used AI-based image processing tools in a broad set of portrait photographs and generated neutral and slightly smiling versions of the same pictures. Consistent across two experiments, portraits with a subtle smile increased both spontaneous aesthetic preferences in a swiping task as well as improving more explicit aesthetic ratings after prolonged viewing. Participants distinguished between aspects associated with image beauty and the depicted person's attractiveness, resulting in specific interactions between variables related to participant traits, image content, and task. Our study confirms that a subtle-and in this case fully artificial-smile reliably increases the aesthetic quality of portraits, illustrating how current image processing methods can target psychologically important variables and thereby increase the aesthetic value of photographs.},
keywords = {},
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In today’s age of social media and smartphones, portraits-such as selfies or pictures of friends and family-are very frequently produced, shared and viewed images. Despite their prevalence, the psychological factors that characterize a ‘good’ photo-one that people will generally like, keep, and think is especially aesthetically pleasing-are not well understood. Here, we studied how a subtle change in facial expression (smiling) in portraits determines their aesthetic image value (beyond a more positive appearance of the depicted person). We used AI-based image processing tools in a broad set of portrait photographs and generated neutral and slightly smiling versions of the same pictures. Consistent across two experiments, portraits with a subtle smile increased both spontaneous aesthetic preferences in a swiping task as well as improving more explicit aesthetic ratings after prolonged viewing. Participants distinguished between aspects associated with image beauty and the depicted person’s attractiveness, resulting in specific interactions between variables related to participant traits, image content, and task. Our study confirms that a subtle-and in this case fully artificial-smile reliably increases the aesthetic quality of portraits, illustrating how current image processing methods can target psychologically important variables and thereby increase the aesthetic value of photographs.
Chana, Kirren; Mikuni, Jan; Schnebel, Alina; Leder, Helmut
Reading in the city: mobile eye-tracking and evaluation of text in an everyday setting Journal Article
In: Frontiers in Psychology, vol. 14, 2023, ISSN: 1664-1078.
@article{b8ac3ef3319c4dc2969574a855236a07,
title = {Reading in the city: mobile eye-tracking and evaluation of text in an everyday setting},
author = {Kirren Chana and Jan Mikuni and Alina Schnebel and Helmut Leder},
doi = {10.3389/fpsyg.2023.1205913},
issn = {1664-1078},
year = {2023},
date = {2023-10-18},
urldate = {2023-10-18},
journal = {Frontiers in Psychology},
volume = {14},
publisher = {FRONTIERS MEDIA SA},
abstract = {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.},
keywords = {},
pubstate = {published},
tppubtype = {article}
}
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.
Fekete, Anna; Pelowski, Matthew; Specker, Eva; Brieber, David; Rosenberg, Raphael; Leder, Helmut
The Vienna Art Picture System (VAPS): A data set of 999 paintings and subjective ratings for art and aesthetics research. Journal Article
In: Psychology of Aesthetics, Creativity, and the Arts, vol. 17, no. 5, pp. 660–671, 2023, ISSN: 1931-3896.
@article{Fekete_2023,
title = {The Vienna Art Picture System (VAPS): A data set of 999 paintings and subjective ratings for art and aesthetics research.},
author = {Anna Fekete and Matthew Pelowski and Eva Specker and David Brieber and Raphael Rosenberg and Helmut Leder},
url = {http://dx.doi.org/10.1037/aca0000460},
doi = {10.1037/aca0000460},
issn = {1931-3896},
year = {2023},
date = {2023-10-01},
journal = {Psychology of Aesthetics, Creativity, and the Arts},
volume = {17},
number = {5},
pages = {660–671},
publisher = {American Psychological Association (APA)},
keywords = {},
pubstate = {published},
tppubtype = {article}
}
Specker, Eva; Arato, Jozsef; Leder, Helmut
How are real artworks and reproductions judged?: The role of anchoring in empirical investigations of the genuineness effect Journal Article
In: Journal of Experimental Social Psychology, vol. 108, 2023, ISSN: 0022-1031.
@article{d3b44dce24a341dcbb663c851a6f342d,
title = {How are real artworks and reproductions judged?: The role of anchoring in empirical investigations of the genuineness effect},
author = {Eva Specker and Jozsef Arato and Helmut Leder},
doi = {10.1016/j.jesp.2023.104494},
issn = {0022-1031},
year = {2023},
date = {2023-09-01},
journal = {Journal of Experimental Social Psychology},
volume = {108},
abstract = {The anchoring effect is one of the most robust findings in psychology. In its most general form, the anchoring effect entails that people make relative judgements and decisions compared to some reference point or “anchor”. In the current study, we investigate if the anchoring effect could explain why a genuineness effect—a difference in aesthetic experience between a physical work of art and its (digital) reproduction—has so far not been found in empirical work. As our world becomes more digital, our interactions with art increasingly occur online through reproductions. Therefore, a better understanding of the genuineness effect—or lack thereof—could have a farreaching impact in how we engage with art in a digital world. Our results indicate that an anchoring effectcannot explain a lack of empirical evidence for the genuineness effect. We discuss how our results can push both the specific research on genuineness and the related discussions of digitalization and the arts, but also psychological research into art experience, further.},
keywords = {},
pubstate = {published},
tppubtype = {article}
}
The anchoring effect is one of the most robust findings in psychology. In its most general form, the anchoring effect entails that people make relative judgements and decisions compared to some reference point or “anchor”. In the current study, we investigate if the anchoring effect could explain why a genuineness effect—a difference in aesthetic experience between a physical work of art and its (digital) reproduction—has so far not been found in empirical work. As our world becomes more digital, our interactions with art increasingly occur online through reproductions. Therefore, a better understanding of the genuineness effect—or lack thereof—could have a farreaching impact in how we engage with art in a digital world. Our results indicate that an anchoring effectcannot explain a lack of empirical evidence for the genuineness effect. We discuss how our results can push both the specific research on genuineness and the related discussions of digitalization and the arts, but also psychological research into art experience, further.
Trupp, MacKenzie D.; Bignardi, Giacomo; Specker, Eva; Vessel, Edward A.; Pelowski, Matthew
In: Computers in Human Behavior, vol. 145, 2023, ISSN: 0747-5632.
@article{f10356a8ae0c4c569d92c03e97732af1,
title = {Who benefits from online art viewing, and how: The role of pleasure, meaningfulness, and trait aesthetic responsiveness in computer-based art interventions for well-being},
author = {MacKenzie D. Trupp and Giacomo Bignardi and Eva Specker and Edward A. Vessel and Matthew Pelowski},
doi = {10.1016/j.chb.2023.107764},
issn = {0747-5632},
year = {2023},
date = {2023-08-01},
urldate = {2023-08-01},
journal = {Computers in Human Behavior},
volume = {145},
publisher = {Elsevier},
abstract = {When experienced in-person, engagement with art has been associated with positive outcomes in well-being and mental health. However, especially in the last decade, art viewing, cultural engagement, and even ‘trips’ to museums have begun to take place online, via computers, smartphones, tablets, or in virtual reality. Similarly, to what has been reported for in-person visits, online art engagements—easily accessible from personal devices—have also been associated to well-being impacts. However, a broader understanding of for whom and how online-delivered art might have well-being impacts is still lacking. In the present study, we used a Monet interactive art exhibition from Google Arts and Culture to deepen our understanding of the role of pleasure, meaning, and individual differences in the responsiveness to art. Beyond replicating the previous group-level effects, we confirmed our pre-registered hypothesis that trait-level inter-individual differences in aesthetic responsiveness predict some of the benefits that online art viewing has on well-being and further that such inter-individual differences at the trait level were mediated by subjective experiences of pleasure and especially meaningfulness felt during the online-art intervention. The role that participants' experiences play as a possible mechanism during art interventions is discussed in light of recent theoretical models.},
keywords = {},
pubstate = {published},
tppubtype = {article}
}
When experienced in-person, engagement with art has been associated with positive outcomes in well-being and mental health. However, especially in the last decade, art viewing, cultural engagement, and even ‘trips’ to museums have begun to take place online, via computers, smartphones, tablets, or in virtual reality. Similarly, to what has been reported for in-person visits, online art engagements—easily accessible from personal devices—have also been associated to well-being impacts. However, a broader understanding of for whom and how online-delivered art might have well-being impacts is still lacking. In the present study, we used a Monet interactive art exhibition from Google Arts and Culture to deepen our understanding of the role of pleasure, meaning, and individual differences in the responsiveness to art. Beyond replicating the previous group-level effects, we confirmed our pre-registered hypothesis that trait-level inter-individual differences in aesthetic responsiveness predict some of the benefits that online art viewing has on well-being and further that such inter-individual differences at the trait level were mediated by subjective experiences of pleasure and especially meaningfulness felt during the online-art intervention. The role that participants’ experiences play as a possible mechanism during art interventions is discussed in light of recent theoretical models.