Cross-cultural adaptation and validation of the Spanish sensory processing sensitivity questionnaire (S-SPSQ).

Sensory Processing Sensitivity (SPS) is a temperament trait rooted in biology, and is distinguished by heightened awareness, emotional responsiveness, and sensitivity to environmental stimuli. In this study, we aimed to enable the assessment of SPS within Spanish-speaking populations. To achieve this, we translated, adapted, and validated the Sensory Processing Sensitivity Questionnaire (SPSQ), which offers a comprehensive evaluation of SPS, encompassing both positive and negative aspects of the trait. Participants were 1,004 (844 females, mean age 37) mainly from Chile (964), and 40 were from other Spanish-speaking regions. Confirmatory factor analysis, utilizing the diagonally weighted least squares method, was applied to validate the internal structure of the Spanish version of the SPSQ (S-SPSQ). Fit indices such as GFI, CFI, TLI, RMSEA, and SRMR were scrutinized. Reliability assessment utilized Cronbach's alpha and McDonald's Omega. Three models were examined: Model I (six factors) displayed robustness, Model II (six factors plus a general factor) did not show substantive improvement, and Model III (Higher Order and Bifactor) excelled in fit while balancing complexity and representation, thus validating the findings of the original SPSQ and indicating similar reliability coefficients. The study offers a balanced perspective on SPS and contributes to cross-cultural validation of an SPS instrument which may facilitate research and guide personalized therapeutic interventions, thus enhancing outcomes for highly sensitive persons.

The Aesthetic Developmental Characteristics of Contour Features in Children and Adolescents with High- and Low- Level Visual Aesthetic Sensitivity across Grade Levels.

This study examined the aesthetic developmental characteristics of contour features (curved and sharp corners) among children and adolescents with different levels (high and low) of visual aesthetic sensitivity in three grades (4, 6, and 8). The results revealed that (1) there was a significant main effect of contour features, with children and adolescents liking curved contours and perceiving them as more beautiful than sharp-angled contours; (2) there was a significant interaction with contour features in grades 6 and 4, and there was no significant difference in liking curved contours and perceiving them to be more beautiful between students in grades 6 and 4. However, grade 6 students disliked sharp-angled contours and perceived them as more unattractive than grade 4 students; and (3) there was a significant interaction between the level of visual aesthetic sensitivity and contour features, as children and adolescents with both high and low levels of visual aesthetic sensitivity preferred curved contours and considered them more beautiful. However, children and adolescents with high-level visual aesthetic sensitivity disliked sharp-angled contours and considered them more unattractive compared to students with low-level visual aesthetic sensitivity. The results proposed that children and adolescents preferred curved contours, 6th graders were more sensitive to curved contours than 4th graders, and children and adolescents with high-level visual aesthetic sensitivity were more sensitive to sharp-angled contours than children and adolescents with low-level visual aesthetic sensitivity.

The development of visual aesthetic sensitivity in students in China.

To examine the development of visual aesthetic sensitivity in students in China, 2,387 students from age 9 to age 22 (excluding ages 16-17) were tested by the Visual aesthetic Sensitivity Test-Revised. The development of visual aesthetic sensitivity across ages and genders, and the effect of artistic training on students' visual aesthetic sensitivity were examined. The data of primary school and junior middle school students were collected by paper tests completed collectively in class, while the data of university students were collected by distributing and collecting online. Result suggests that students' visual aesthetic sensitivity is relatively stable from age 9 to age 12 and increases at age 13. The visual aesthetic sensitivity of girls is significantly better than that of boys at age 15, 19, and 20 years of age. This study also found that artistic training improves students' visual aesthetic sensitivity.

Individual differences in scientists' aesthetic disposition, aesthetic experiences, and aesthetic sensitivity in scientific work.

Introduction: The role of personality in shaping engagement with aesthetics in science has been almost entirely unexplored. Whereas artists and arts settings (e.g., museums) are well-studied from a psychological perspective, the practice of science has often been seen as purely rational or dry. In response, this study presents novel findings on the critical role of scientists' individual differences, which shape their engagement with aesthetics, such as the frequency of their experiences of beauty, wonder, and awe in their scientific work. Methods: Based on a very large and representative four-country study of scientists in the fields of biology and physics (N = 3,092), this study analyzed the associations of Big Five personality traits among scientists with (i) dispositional aesthetics (DPES-awe), (ii) the frequency of aesthetic experiences in scientific work, and (iii) aesthetic sensitivity in science. These survey-weighted OLS regression models included extensive statistical controls for sociodemographic factors. Results: As hypothesized, openness is positively, and neuroticism is negatively linked with dispositional aesthetics, the frequency of aesthetic experiences in scientific work, and aesthetic sensitivity in science. Unexpectedly, agreeableness and conscientiousness (but not extraversion) are highly significant and strong predictors of the three trait and state aesthetic engagement variables. Discussion: The aesthetic engagement and personality framework of this paper is empirically supported and demonstrates the importance of personality types of scientists in the practice of science. The unexpectedly strong association of agreeableness with aesthetic engagement points to the importance of cooperation, collaboration, and communication to maximize scientific creativity.

Differences in regional gray matter volume predict the extent to which openness influences judgments of beauty and pleasantness of interior architectural spaces.

Hedonic evaluation of sensory objects varies from person to person. While this variability has been linked to differences in experience, little is known about why stimuli lead to different evaluations in different people. We used linear mixed-effects models to determine the extent to which the openness, contour, and ceiling height of interior spaces influenced the beauty and pleasantness ratings of 18 participants. Then, by analyzing structural brain images acquired for the same group of participants, we asked if any regional gray matter volume (rGMV) covaried with these differences in the extent to which the three features influence beauty and pleasantness ratings. Voxel-based morphometry analysis revealed that the influence of openness on pleasantness ratings correlated with rGMV in the anterior prefrontal cortex (Brodmann area (BA)-10), and the influence of openness on beauty ratings correlated with rGMV in the temporal pole (BA38) and cluster, including the posterior cingulate cortex (BA31) and paracentral lobule (BA5/6). There were no significant correlations involving contour or ceiling height. Our results suggest that regional variance in gray matter volume may play a role in the computation of hedonic valuation and account for differences in the way people weigh certain attributes of interior architectural spaces.

Cross-Cultural Adaptation and Validation of the Highly Sensitive Person Scale to the Adult Spanish Population (HSPS-S).

PURPOSE: This article describes a cross-cultural adaptation of the Highly Sensitive Person Scale (HSPS) to the adult Spanish population, and psychometric analysis of its validation and reliability. METHODS: Convenience sampling by participant accessibility was used. The original version was adapted culturally and linguistically using the back-translation method, and a pilot study was done with 88 participants. Data processing and analysis was performed with the SPSS v.25 and LISREL v.9.2 statistical packages. The psychometric properties were studied in a sample of 8358 participants using exploratory factor analysis and confirmatory factor analysis, and examining factorial invariance and internal consistency. RESULTS: The results confirmed a Spanish version with 27 items in five-dimensions: sensitivity to overstimulation (SOS), aesthetic sensitivity (AES), low sensory threshold (LST), fine psychophysiological discrimination (FPD) and harm avoidance (HA). Invariance across gender of this factor structure was demonstrated and reliability indices were good. CONCLUSION: These findings demonstrate that the HSPS is an appropriate tool for evaluating high sensitivity in the adult Spanish population.

Evaluative judgment across domains: Liking balance, contour, symmetry and complexity in melodies and visual designs.

Evaluative judgment-i.e., assessing to what degree a stimulus is liked or disliked-is a fundamental aspect of cognition, facilitating comparison and choosing among alternatives, deciding, and prioritizing actions. Neuroimaging studies have shown that evaluative judgment involves the projection of sensory information to the reward circuit. To investigate whether evaluative judgments are based on modality-specific or modality-general attributes, we compared the extent to which balance, contour, symmetry, and complexity affect liking responses in the auditory and visual modalities. We found no significant correlation for any of the four attributes across sensory modalities, except for contour. This suggests that evaluative judgments primarily rely on modality-specific sensory representations elaborated in the brain's sensory cortices and relayed to the reward circuit, rather than abstract modality-general representations. The individual traits art experience, openness to experience, and desire for aesthetics were associated with the extent to which design or compositional attributes influenced liking, but inconsistently across sensory modalities and attributes, also suggesting modality-specific influences.

Does beauty capture the eye, even if it's not (overtly) adaptive? A comparative eye-tracking study of spontaneous attention and visual preference with VAST abstract art.

Studies have routinely shown that individuals spend more time spontaneously looking at people or at mimetic scenes that they subsequently judge to be more aesthetically appealing. This "beauty demands longer looks" phenomenon is typically explained by biological relevance, personal utility, or other survival factors, with visual attraction often driven by structural features (symmetry, texture), which may signify fitness and to which most humans tend to respond similarly. However, what of objects that have less overtly adaptive relevance? Here, we consider whether people also look longer at abstract art with little associative/mimetic content that they subsequently rate for higher aesthetic appeal. We employed the "Visual aesthetic sensitivity test" (VAST), which consists of pairs of matched abstract designs with one example of each pair argued to be objectively 'aesthetically better' in regards to low-level features, thus offering a potential contrast between 'objective' (physical feature-based) and 'subjective' (personal taste-based) assessments. Participants (29 women) first looked at image pairs without a specific task and then in three follow-up blocks indicated their preference within the pairs and rated the individual images for liking and for presumed ratings by an art expert. More preferred designs were looked at longer. However, longer looking only occurred in line with participants' subjective tastes. This suggests a general correlation of attention and visual beauty, which-in abstract art-may nonetheless be related to features that are not identified by experts as more generally appealing and thus may not directly map to other (more utility-related) stimuli types.

Commentary on Corradi et al.'s (2019) new conception of aesthetic sensitivity: Is the ability conception dead?

Corradi et al. (British Journal of Psychology, 2019) argue that their new conception of visual aesthetic sensitivity (as responsiveness to aesthetic features in one's preferences) presents several advantages in comparison with the current ability view of aesthetic sensitivity, usually defined as the ability to judge aesthetic stimuli in accordance with standards (The Journal of Psychology, 1964, 57 and 49). Although the measure they propose is interesting and presents advances to the field, we point to important issues. Notably, the authors conveniently base their comparison between the two conceptions on psychometric double standards, discard a century of research on aesthetic sensitivity by focusing on Eysenck's speculations, and disguise an extension of already existing aesthetic preference tests (e.g., The Journal of Psychology, 1952, 33 and 199; Empirical Studies of the Arts, 2005, 23 and 165) as a redefinition of aesthetic sensitivity. We conclude that both aesthetic preference and aesthetic sensitivity research are legitimate objects of study, that the authors present interesting ideas to further the study of aesthetic preferences, but that their approach is not new and that its proposed renaming only adds confusion to the field.

A new conception of visual aesthetic sensitivity.

Aesthetic sensitivity has been defined as the ability to recognize and appreciate beauty and compositional excellence, and to judge artistic merit according to standards of aesthetic value. The Visual Aesthetic Sensitivity Test (VAST) has often been used to assess this ability, but recent research has revealed it has several psychometric problems. Such problems are not easily remedied, because they reflect flawed assumptions inherent to the concept of aesthetic sensitivity as traditionally understood, and to the VAST itself. We introduce a new conception of aesthetic sensitivity defined as the extent to which someone's aesthetic valuation is influenced by a given feature. Experiment 1 aimed to characterize aesthetic sensitivity to four prominent features in visual aesthetics: complexity, symmetry, contour, and balance. Experiment 2 aimed to replicate the findings of Experiment 1 and to assess the test-retest reliability of an instrument designed to measure aesthetic sensitivity to these features using an abridged set of stimuli. Our results reveal that people differ remarkably in the extent to which visual features influence their liking, highlighting the crucial role of individual variation when modelling aesthetic preferences. We did not find clear relations between the four measures of aesthetic sensitivity and personality, intelligence, and art interest and knowledge. Finally, our measurement instrument exhibited an adequate-to-good test-retest reliability.

Aesthetic sensitivity to curvature in real objects and abstract designs.

The features of objects have a strong influence on how we evaluate, judge, approach, and behave toward them. People generally prefer complex, symmetric, balanced and curved designs. In addition to these general trends, however, there are substantial differences among people in what they like and prefer, and in the extent to which their preferences and choices are modulated by design features. Here we aimed to determine whether curvature in real objects and abstract designs influenced participants' preference to the same extent. We found that, in general, participants prefer real objects and abstract designs with curved contours. But we also uncovered a remarkable breadth of variation in individual preferences. Finally, our results show that people who are highly sensitive to curvature in real objects are also highly sensitive to curvature in abstract designs, and that people who are insensitive to curvature in one kind of stimulus are also insensitive to the other.

Personality traits as vulnerability factors in body dysmorphic disorder.

Cognitive behavioural models consider certain personality traits to be risk factors for the development of Body Dysmorphic Disorder (BDD). Research on personality traits in BDD is scarce, therefore this study examined perfectionism, aesthetic sensitivity and the behavioural inhibition system (BIS) in BDD. Furthermore, the association between these personality traits and the extent of dysmorphic concerns was investigated. Individuals with BDD (n=58) and a population based control sample (n=2071), selected from a representative German population survey, completed self-report questionnaires assessing DSM-5 criteria of BDD, dysmorphic concerns, perfectionism, aesthetic sensitivity and BIS-reactivity. Individuals with BDD reported significantly higher degrees of perfectionism as well as of BIS-reactivity compared to the population based control sample, whereas the groups did not differ significantly regarding aesthetic sensitivity. However, for the total sample, each of the personality traits was related dimensionally to dysmorphic concerns. Current BDD models consider perfectionism and aesthetic sensitivity to be vulnerability factors. In addition to these concepts, the present study suggests that BIS-reactivity is related to BDD. Self-reported aesthetic sensitivity was not found to be specifically pronounced in BDD, but along with perfectionism and BIS-reactivity aesthetic sensitivity was generally associated with dysmorphic concerns.