First gender, then attractiveness: Indications of gender-specific attractiveness processing via ERP onsets.

We followed an ERP-based approach to gain knowledge on the dependence and temporal order of two essential processes of face perception: attractiveness and gender. By combining a dual-choice task with a go/nogo-paradigm focusing on the LRP and N200-effect, we could estimate the processing times and onsets of both types of face processing. The analyses of the LRP revealed that gender aspects were processed much earlier than attractiveness. Whereas gender was already analysed 243.9 ms post-stimulus onset, attractiveness came into play 58.6 ms later, i.e. after a post-stimulus onset delay of 302.5 ms. This resulting pattern was mirrored by the analyses of the N200-effect, an effect available mainly frontally which is supposed to correlate with the inhibition of inappropriate responses. Taking the onset of the N200 effect as an estimator for the moment at which information has been processed sufficiently for task decision, we could trace the N200 effect at 152.0 ms for go/nogo-decision on gender, while not as early as 206.7 ms on attractiveness. In sum, processing of facial attractiveness seems to be based on gender-specific aesthetic pre-processing, for instance via activating gender-specific attractiveness prototypes which show focused processing of certain facial aspects.

Beauty in the blink of an eye: The time course of aesthetic experiences.

Under normal circumstances, perception runs very fast and seemingly automatic. In just a few ms, we go from sensory features to perceiving objects. This fast time course does not only apply to general perceptual aspects but also to what we call higher-level judgements. Inspired by the study on 'very first impressions' by Bar, Neta, and Linz (2006, Emotion, 6, 269) the current research examined the speed and time course of three aspects of the aesthetic experience, namely beauty, specialness, and impressiveness. Participants were presented with 54 reproductions of paintings that covered a wide variety of artistic styles and contents. Presentation times were 10, 50, 100 and 500 ms in Experiment 1 and 20, 30 and 40 ms in Experiment 2. Our results not only show that consistent aesthetic judgements can be formed based on very brief glances of information, but that this speed of aesthetic impression formation also differs between different aesthetic judgements. Apparently, impressiveness judgements require longer exposure times than impressions of beauty or specialness. The results provide important evidence for our understanding of the time course of aesthetic experiences.

Artful terms: A study on aesthetic word usage for visual art versus film and music.

Despite the importance of the arts in human life, psychologists still know relatively little about what characterises their experience for the recipient. The current research approaches this problem by studying people's word usage in aesthetics, with a focus on three important art forms: visual art, film, and music. The starting point was a list of 77 words known to be useful to describe aesthetic impressions of visual art (Augustin et al 2012, Acta Psychologica139 187-201). Focusing on ratings of likelihood of use, we examined to what extent word usage in aesthetic descriptions of visual art can be generalised to film and music. The results support the claim of an interplay of generality and specificity in aesthetic word usage. Terms with equal likelihood of use for all art forms included beautiful, wonderful, and terms denoting originality. Importantly, emotion-related words received higher ratings for film and music than for visual art. To our knowledge this is direct evidence that aesthetic experiences of visual art may be less affectively loaded than, for example, experiences of music. The results render important information about aesthetic word usage in the realm of the arts and may serve as a starting point to develop tailored measurement instruments for different art forms.

Empirical aesthetics, the beautiful challenge: An introduction to the special issue on Art & Perception.

The i-Perception special issue Art & Perception is based on the Art & Perception Conference 2010 in Brussels. Our vision with this conference was to bring together artists and vision scientists from different backgrounds to exchange views and state-of-the-art knowledge on art perception and aesthetics. The complexity of the experience of art and of aesthetic phenomena, in general, calls for specific research approaches, for which interdisciplinarity seems to be key. Following this logic, the special issue Art & Perception contains contributions by artists and vision scientists with different methodological approaches. The contributions span a wide range of topics, but are all centred around two questions: How can one understand art perception and aesthetics from a psychological point of view, and how is this reflected in art itself?

All is beautiful? Generality vs. specificity of word usage in visual aesthetics.

A central problem in the literature on psychological aesthetics is a lack of precision in terminology regarding the description and measurement of aesthetic impressions. The current research project approached the problem of terminology empirically, by studying people's word usage to describe aesthetic impressions. For eight different object classes that are relevant in visual aesthetics, including visual art, landscapes, faces and different design classes, we examined which words people use to describe their aesthetic impressions, and which general conceptual dimensions might underlie similarities and differences between the classes. The results show an interplay between generality and specificity in aesthetic word usage. In line with results by Jacobsen, Buchta, Kohler, and Schroger (2004)beautiful and ugly seem to be the words with most general relevance, but in addition each object class has its own distinct pattern of relevant terms. Multidimensional scaling and correspondence analysis suggest that the most extreme positions in aesthetic word usage for the classes studied are taken by landscapes and geometric shapes and patterns. This research aims to develop a language of aesthetics for the visual modality. Such a common vocabulary should facilitate the development of cross-disciplinary models of aesthetics and create a basis for the construction of standardised aesthetic measures.

The neural time course of art perception: an ERP study on the processing of style versus content in art.

A central prerequisite to understand the phenomenon of art in psychological terms is to investigate the nature of the underlying perceptual and cognitive processes. Building on a study by Augustin, Leder, Hutzler, and Carbon (2008) the current ERP study examined the neural time course of two central aspects of representational art, one of which is closely related to object- and scene perception, the other of which is art-specific: content and style. We adapted a paradigm that has repeatedly been employed in psycholinguistics and that allows one to examine the neural time course of two processes in terms of when sufficient information is available to allow successful classification. Twenty-two participants viewed pictures that systematically varied in style and content and conducted a combined go/nogo dual choice task. The dependent variables of interest were the Lateralised Readiness Potential (LRP) and the N200 effect. Analyses of both measures support the notion that in the processing of art style follows content, with style-related information being available at around 224 ms or between 40 and 94 ms later than content-related information. The paradigm used here offers a promising approach to further explore the time course of art perception, thus helping to unravel the perceptual and cognitive processes that underlie the phenomenon of art and the fascination it exerts.

Style follows content: on the microgenesis of art perception.

Despite fruitful research in experimental aesthetics, the dynamics of aesthetics, i.e., the processes involved in art perception, have received little attention. Concerning representational art, two aspects seem most important in this respect: style and content. In two experiments, we examined the dynamics of processing of style and content by means of the microgenetic approach. This approach systematically varies perceptual conditions to find out about the stages involved in the formation of percepts--their microgenesis. Participants gave similarity ratings for pairs of pictures that were fully crossed in style (artist) and content (motif). Presentation times were systematically varied between 10, 50, 202 and 3000 ms (Experiment 1) plus unlimited presentation time (Experiment 2). While effects of content were present at all presentation times, effects of style were traceable from 50 ms onwards. The results show clear differences in the microgenesis of style and content, suggesting that in art perception style follows content.