Empathy as a guide for understanding the balancing of Distancing-Embracing with negative art.

We connect the Distancing-Embracing model to theoretical and empirical evidence regarding empathy, which raises questions about the ordering and modulation of distancing in particular. Namely, distancing may not be a binary, continuously on/off process. Rather we suggest that changes in distancing as actualized via the relation between the individual and art (e.g., through empathy) might be a useful avenue for further consideration.

What makes an art expert? Emotion and evaluation in art appreciation.

Why do some people like negative, or even disgusting and provocative artworks? Art expertise, believed to influence the interplay among cognitive and emotional processing underlying aesthetic experience, could be the answer. We studied how art expertise modulates the effect of positive-and negative-valenced artworks on aesthetic and emotional responses, measured with self-reports and facial electromyography (EMG). Unsurprisingly, emotionally-valenced art evoked coherent valence as well as corrugator supercilii and zygamoticus major activations. However, compared to non-experts, experts showed attenuated reactions, with less extreme valence ratings and corrugator supercilii activations and they liked negative art more. This pattern was also observed for a control set of International Affective Picture System (IAPS) pictures suggesting that art experts show general processing differences for visual stimuli. Thus, much in line with the Kantian notion that an aesthetic stance is emotionally distanced, art experts exhibited a distinct pattern of attenuated emotional responses.

Correction: Responses to the Islamic headscarf in everyday interactions depend on sex and locale: A field experiment in the metros of Brussels, Paris, and Vienna on helping and involvement behaviors.

[This corrects the article DOI: 10.1371/journal.pone.0254927.].

Focusing on experts: Expectations of healthcare professionals regarding the use of telemedicine in intensive care units.

Objectives: Telemedical applications are solutions to challenges in the healthcare system. However, it is unclear what intensive care unit healthcare professionals expect from such solutions. This study investigated the expectations and concerns of nurses and physicians when implementing telemedicine tools in intensive care units (tele-ICU). Methods: The study was conducted in intensive care units in 2020 during the second wave of the COVID-19 pandemic. It used a mixed-methods approach targeted at physicians and nurses and involved 14 qualitative interviews and 63 quantitative questionnaires. Results: The qualitative and quantitative data showed that both nurses and physicians were willing to use tele-ICU. Nurses recognised the advantages of real-time access to expertise offered by tele-ICU, but feared this would reduce physicians' on-site patient time. Physicians, in turn, were concerned that they would be expected to be continuously on call. The majority in both groups agreed that any tele-ICU solution must be simple to use and integrate easily into existing organisational structures, networks, and work routines. Additionally, COVID-19 significantly influenced expectations: those who reported having more personal health concerns during the pandemic were more predisposed to favour the use of tele-ICU. Conclusions: Overall, tele-ICU supports better care, but a successful implementation depends on its ease of use and context-sensitive approaches. Effectively integrating tele-ICU solutions into daily clinical routines requires input from nurses and physicians and their involvement in the implementation process from the outset, as well as consideration of existing organisational structures. Such measures will vastly increase the chance of acceptance and successful adoption of telemedical solutions in clinical practice.

Responses to the Islamic headscarf in everyday interactions depend on sex and locale: A field experiment in the metros of Brussels, Paris, and Vienna on helping and involvement behaviors.

The Islamic headscarf has been in the middle of heated debates in European society, yet little is known about its influence on day-to-day interactions. The aim of this randomized field experiment (n = 840) is to explore how the generally negative views that surround the hijab in Europe manifest in the behavior that people direct to hijab-wearing women in everyday situations. Using a helping scenario and videotapes of the resulting interactions, we measured whether passengers offered assistance and also various details of behavior that indicate interpersonal involvement. We predicted that in interaction with the covered confederate less help would be offered, that women's level of nonverbal involvement would increase but men's decrease, and that responses would be stronger in Paris, intermediate in Brussels, and weaker in Vienna. We analyzed the data using Generalized Linear Models estimated with Bayesian inference. While the headscarf does not produce concluding differences in "overt" helping, it does affect "subtle" cues of interpersonal involvement. In response to the hijab, women across sites increase, but men in Paris decrease, the level of involvement that they show with their nonverbal behavior.

Does priming negative emotions really contribute to more positive aesthetic judgments? A comparative study of emotion priming paradigms using emotional faces versus emotional scenes and multiple negative emotions with fEMG.

An outstanding question in empirical aesthetics concerns whether negative emotions (e.g., fear, disgust) can improve aesthetic judgments of liking. Although negative emotions are sometimes linked with enjoyment in music or visual design/art, emotion priming studies have shown conflicting results, reporting both more negative and more positive assessments. These divergences may be driven by key differences in priming procedures. Specifically, past studies' use of either emotional faces or emotional scenes as primes as well as differing negative emotion content (fear, disgust) may involve differing processes leading to opposing effects, particularly in aesthetic judgments. To differentiate among these, we presented emotion primes (20 ms) consisting of either emotional faces or scenes, further subdivided in disgusting, fearful, neutral, or positive emotional content and tested how liking, valence, and arousal ratings of abstract patterns were affected. Additionally, facial electromyography (fEMG) over M. frontalis (indicator of fear), M. levator labii (disgust), and M. zygomaticus (positive) muscles was recorded, to see whether primes would elicit prime-emotion congruent changes. However, fEMG activations indicated no prime congruent changes. Critically, primes influenced ratings in an emotion congruent manner in both faces and emotional scenes. Stimuli were rated as more liked and positively valenced after positive primes and less liked/more negatively valenced after fear or disgust primes. The similarity of priming effects in both prime types in absence of congruent fEMG changes may suggest that priming exerts its influence via a cognitive rather than a more immediate emotional route. Overall-at least in emotional priming-negative emotions seem to be incompatible with higher liking. (PsycINFO Database Record (c) 2019 APA, all rights reserved).

Capturing Aesthetic Experiences With Installation Art: An Empirical Assessment of Emotion, Evaluations, and Mobile Eye Tracking in Olafur Eliasson's "Baroque, Baroque!"

Installation art is one of the most important and provocative developments in the visual arts during the last half century and has become a key focus of artists and of contemporary museums. It is also seen as particularly challenging or even disliked by many viewers, and-due to its unique in situ, immersive setting-is equally regarded as difficult or even beyond the grasp of present methods in empirical aesthetic psychology. In this paper, we introduce an exploratory study with installation art, utilizing a collection of techniques to capture the eclectic, the embodied, and often the emotionally-charged viewing experience. We present results from an investigation of two pieces, both part of Olafur Eliasson's exhibition "Baroque, Baroque" held at the Belvedere museum in Vienna. These were assessed by pre- and post-viewing questionnaires focusing on emotion, meaning-making, and appraisals, in tandem with mobile eye tracking to consider viewers' attention to both installed artworks and/or to the museum environment. The data showed differences in participants' emotional states, appraisals, and visual exploration, which together paint a picture of the aesthetic reactions to the works. These differences also showed how viewers' appraisal strategies, meaning making, and physical actions facilitated relatively more or less deep engagement with, and enjoyment of, the art. The results are discussed in terms of their implications for museum studies, art education, and theory in empirical aesthetics.

It felt fluent but I did not like it: fluency effects in faces versus patterns.

Whether you like a person or not is often appraised in a glance. However, under such short presentation durations stimuli are harder to perceive and, according to hedonic fluency theory-which holds that higher fluency is linked to higher liking-thus, are liked less. Given that liking considerably influences person perception, we tested how shorter and longer presentation durations affect liking for faces and compared this with abstract patterns. To capture facets of fluency of processing we assessed felt fluency, liking, and certainty ratings. Following predictions of fluency theory, longer presentation durations led to higher felt fluency, certainty, and positively affected liking judgments in the abstract patterns. In faces, felt fluency and certainty also increased with longer durations. However, with longer durations, faces were liked less, and liking was not related to felt fluency. In other words, in contrast to hedonic fluency theory, faces are more attractive when only seen for a short amount of time. Thus, fluency does not inevitably lead to more positive evaluations-it rather depends on the stimulus category. We discuss these findings in terms of the special status that faces have with regard to human perception and evaluation.

But Is It really Art? The Classification of Images as "Art"/"Not Art" and Correlation with Appraisal and Viewer Interpersonal Differences.

When an individual participates in empirical studies involving the visual arts, they most often are presented with a stream of images, shown on a computer, depicting reproductions of artworks by respected artists but which are often not known to the viewer. While art can of course be shown in presentia actuale-e.g., in the museum-this laboratory paradigm has become our go-to basis for assessing interaction, and, often in conjunction with some means of rating, for assessing evaluative, emotional, cognitive, and even neurophysiological response. However, the question is rarely asked: Do participants actually believe that every image that they are viewing is indeed "Art"? Relatedly, how does this evaluation relate to aesthetic appreciation, and do the answers to these questions vary in accordance with different strategies and interpersonal differences? In this paper, we consider the spontaneous classification of digital reproductions as art or not art. Participants viewed a range of image types-Abstract, Hyperrealistic, Poorly Executed paintings, Readymade sculptures, as well as Renaissance and Baroque paintings. They classified these as "art" or "not art" using both binary and analog scales, and also assessed for liking. Almost universally, individuals did not find all items within a class to be "art," nor did all participants agree on the arthood status for any one item. Art classification in turn showed a significant positive correlation with liking. Whether an object was classified as art moreover correlated with specific personality variables, tastes, and decision strategies. The impact of these findings is discussed for selection/assessment of participants and for better understanding the basis of findings in past and future empirical art research.

Move me, astonish me delight my eyes and brain: The Vienna Integrated Model of top-down and bottom-up processes in Art Perception (VIMAP) and corresponding affective, evaluative, and neurophysiological correlates.

This paper has a rather audacious purpose: to present a comprehensive theory explaining, and further providing hypotheses for the empirical study of, the multiple ways by which people respond to art. Despite common agreement that interaction with art can be based on a compelling, and occasionally profound, psychological experience, the nature of these interactions is still under debate. We propose a model, The Vienna Integrated Model of Art Perception (VIMAP), with the goal of resolving the multifarious processes that can occur when we perceive and interact with visual art. Specifically, we focus on the need to integrate bottom-up, artwork-derived processes, which have formed the bulk of previous theoretical and empirical assessments, with top-down mechanisms which can describe how individuals adapt or change within their processing experience, and thus how individuals may come to particularly moving, disturbing, transformative, as well as mundane, results. This is achieved by combining several recent lines of theoretical research into a new integrated approach built around three processing checks, which we argue can be used to systematically delineate the possible outcomes in art experience. We also connect our model's processing stages to specific hypotheses for emotional, evaluative, and physiological factors, and address main topics in psychological aesthetics including provocative reactions-chills, awe, thrills, sublime-and difference between "aesthetic" and "everyday" emotional response. Finally, we take the needed step of connecting stages to functional regions in the brain, as well as broader core networks that may coincide with the proposed cognitive checks, and which taken together can serve as a basis for future empirical and theoretical art research.

Titles change the esthetic appreciations of paintings.

Esthetic experiences of artworks are influenced by contextualizing information such as titles. However, how titles contribute to positive esthetic experiences is still an open issue. Considering that fluency, as well as effortful elaborate processing, potentially influence esthetic experiences, we tested how three different title types-semantically matching (fluent), semantically non-matching (non-fluent), and an "untitled" condition (control)-affected experiences of abstract, semi-abstract, and representational art. While participants viewed title/artwork combinations we assessed facial electromygraphic (fEMG) recordings over M. corrugator supercilii and M. zygomaticus major muscle to capture subtle changes in emotional and cognitive processing, and asked for subjective liking and interest. Matching titles, but also the more effortful untitled condition, produced higher liking compared to non-fluently processed, non-matching titles especially in abstract art. These results were reflected in fEMG with stronger M. corrugator activations in the non-matching condition followed by the untitled condition. This implies high cognitive effort as well as negative emotions. Only in the matching condition, M. zygomaticus was more strongly activated indicating positive emotions due to fluency. Interest, however, was hardly affected. These results show that high levels of dis-fluency and cognitive effort reduce liking. However, fluency as well as moderate levels of effort contribute to more positive esthetic experiences.

Everything's Relative? Relative Differences in Processing Fluency and the Effects on Liking.

Explanations of aesthetic pleasure based on processing fluency have shown that ease-of-processing fosters liking. What is less clear, however, is how processing fluency arises. Does it arise from a relative comparison among the stimuli presented in the experiment? Or does it arise from a comparison to an internal reference or standard? To address these questions, we conducted two experiments in which two ease-of-processing manipulations were applied: either (1) within-participants, where relative comparisons among stimuli varying in processing ease were possible, or (2) between-participants, where no relative comparisons were possible. In total, 97 participants viewed simple line drawings with high or low visual clarity, presented at four different presentation durations, and rated for felt fluency, liking, and certainty. Our results show that the manipulation of visual clarity led to differences in felt fluency and certainty regardless of being manipulated within- or between-participants. However, liking ratings were only affected when ease-of-processing was manipulated within-participants. Thus, feelings of fluency do not depend on the nature of the reference. On the other hand, participants liked fluent stimuli more only when there were other stimuli varying in ease-of-processing. Thus, relative differences in fluency seem to be crucial for liking judgments.

Context effects on emotional and aesthetic evaluations of artworks and IAPS pictures.

In the arts emotionally negative objects sometimes can be positively judged. Defining an object as art possibly yields specific changes in how perceivers emotionally experience and aesthetically judge a stimulus. To study how emotional experiences (joy, anger, disgust, fear, sadness, and shame ratings, plus facial EMG) and aesthetic judgements (liking ratings) are modulated by an art context ("This is an artwork") as compared to non-art reality context ("This is a press photograph") participants evaluated IAPS pictures and veridical artworks depicting emotionally positive and negative content. In line with the assumption that emotional distancing is an essential feature of the art experience we found that positive emotional reactions were attenuated (joy, M. zygomaticus activation) in an art compared to non-art context. However, context had little influence on negative emotional reactions (anger, disgust, fear, sadness, shame, and M. corrugator activation) suggesting that these are similar in art and non-art. Importantly, only artworks of emotionally negative content were judged more positively in an art context - thus liked more. This study, in accordance with the assumption of a distanced aesthetic mode, shows that an art context fosters appraisal processes that influence emotional experiences, allowing to judge negative stimuli aesthetically more positively - thus suppressing the immediacy of emotional stimulus content.

Birds of a feather... Generalization of facial structures following massive familiarization.

Three experiments examined the effects of symmetry and complexity, as facial structures, on the aesthetic judgments of faces, and how these effects are modulated by moderate or massive familiarization. Results showed that symmetrical faces were judged as more attractive than nonsymmetrical faces, and simple faces were judged as more attractive than complex faces-with complexity defined as the number of facial elements. Complexity in faces seemed to have overridden the usually positive effects of facial symmetry. Moreover, while moderate familiarization did not modulate the effects, massive familiarization to a specific face type resulted in structural generalization effects: participants provided higher aesthetic judgments to faces that were new, but similarly structured to those which they were familiarized. This latter result contrasts previous studies that have found structural contrast effects following familiarization to meaningless, abstract stimuli. Taken together, these results reflect the greater biological and social significance of faces as compared to other objects in the world. They also show that people are drawn to those with familiar characteristics.

Priming semantic concepts affects the dynamics of aesthetic appreciation.

Aesthetic appreciation (AA) plays an important role for purchase decisions, for the appreciation of art and even for the selection of potential mates. It is known that AA is highly reliable in single assessments, but over longer periods of time dynamic changes of AA may occur. We measured AA as a construct derived from the literature through attractiveness, arousal, interestingness, valence, boredom and innovativeness. By means of the semantic network theory we investigated how the priming of AA-relevant semantic concepts impacts the dynamics of AA of unfamiliar product designs (car interiors) that are known to be susceptible to triggering such effects. When participants were primed for innovativeness, strong dynamics were observed, especially when the priming involved additional AA-relevant dimensions. This underlines the relevance of priming of specific semantic networks not only for the cognitive processing of visual material in terms of selective perception or specific representation, but also for the affective-cognitive processing in terms of the dynamics of aesthetic processing.