Liking of art and the perception of color.

Color has been a defining feature of paintings throughout art history. Despite the great diversity in the use of color between epochs, there are some surprisingly stable and unifying features in chromatic properties across visual artworks. For example, artists' palettes seem to be biased toward the yellow-red range of the spectrum. Here, we assess the impact of a holistic color manipulation (i.e., rotating the color gamut) on aesthetic liking and perceived colorfulness of abstract paintings. We presented 6 versions each of 100 abstract artworks that differed only in the rotational degree of their color gamut within the CIELAB space. Results indicated a very stable preference for the original color compositions-both on a participant level and on an item level. Furthermore, participants perceived original color compositions as more colorful than rotated versions. This effect remained robust even when the exact number of different colors-among other chromatic features-was taken into account in covariate analyses. Thus, it seems that original color compositions are inherently special. Specifically, it seems that the aesthetic appeal of original artworks arises from nontrivial color features, which are characterized by their distribution within the visible spectrum. We assume that the rotation manipulation may change the perception of some colors more strongly than others due to differences in sensitivity of our visual system to these hues. We discuss these findings with respect to category-specific color perception, which may be a potential contender for a neurobiological foundation of the observed effects. (PsycInfo Database Record (c) 2021 APA, all rights reserved).

Aesthetic Perception of Line Patterns: Effect of Edge-Orientation Entropy and Curvilinear Shape.

Curvilinearity is a perceptual feature that robustly predicts preference ratings for a variety of visual stimuli. The predictive effect of curved/angular shape overlaps, to a large degree, with regularities in second-order edge-orientation entropy, which captures how independent edge orientations are distributed across an image. For some complex line patterns, edge-orientation entropy is actually a better predictor for what human observers like than curved/angular shape. The present work was designed to disentangle the role of the two features in artificial patterns that consisted of either curved or angular line elements. We systematically varied these patterns across two more dimensions, edge-orientation entropy and the number of lines. Eighty-three participants rated the stimuli along three aesthetic dimensions (pleasing, harmonious, and complex). Results showed that curved/angular shape was a stronger predictor for ratings of pleasing and harmonious if the stimuli consisted of a few lines that were clearly discernible. By contrast, edge-orientation entropy was a stronger predictor for the ratings if the stimuli showed many lines, which merged into a texture. No such differences were obtained for complexity ratings. Our findings are in line with results from neurophysiological studies that the processing of shape and texture, respectively, is mediated by different cortical mechanisms.

Effects of attractiveness on face memory separated from distinctiveness: evidence from event-related brain potentials.

The present study examined effects of attractiveness on behavioral and event-related potential (ERP) correlates of face memory. Extending previous reports, we controlled for potential moderating effects of distinctiveness, a variable known to affect memory. Attractive and unattractive faces were selected on the basis of a rating study, and were matched for distinctiveness. In a subsequent recognition memory experiment, we found more accurate memory for unattractive relative to attractive faces. Additionally, an attractiveness effect in the early posterior negativity (EPN) during learning, with larger amplitudes for attractive than unattractive faces, correlated significantly with the magnitude of the memory advantage for unattractive faces at test. These findings establish a contribution of attractiveness to face memory over and above the well-known effect of distinctiveness. Additionally, as the EPN is typically enhanced for affective stimuli, our ERP results imply that the processing of emotionally relevant attractive faces during learning may hamper their encoding into memory.

Facial attractiveness biases the perception of eye contact.

Attractive faces are appealing: We like to look at them, and we like to be looked at by them. We presented attractive and unattractive smiling and neutral faces containing identical eye regions with different gaze directions. Participants judged whether or not a face looked directly at them. Overall, attractive faces increased participants' tendency to perceive eye contact, consistent with a self-referential positivity bias. However, attractiveness effects were modulated by facial expression and gender: For female faces, observers more likely perceived eye contact in attractive than unattractive faces, independent of expression. For male faces, attractiveness effects were limited to neutral expressions and were absent in smiling faces. A signal detection analysis elucidated a systematic pattern in which (a) smiling faces, but not highly attractive faces, reduced sensitivity in gaze perception overall, and (b) attractiveness had a more consistent impact on bias than sensitivity measures. We conclude that combined influences of attractiveness, expression, and gender determine the formation of an overall impression when deciding which individual's interest in oneself may be beneficial and should be reciprocated.