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.

The role of working memory capacity in evaluative judgments of liking and beauty.

Judgments of liking and beauty appear to be expressions of a common hedonic state, but they differ in how they engage cognitive processes. We hypothesised that beauty judgments place greater demands on limited executive resources than judgments of liking. We tested this hypothesis by asking two groups of participants to judge works of visual art for their beauty or liking while having to remember the location of 1, 3, or 5 dots in a 4 by 4 matrix. We also examined the effect of individual differences in working memory capacity. Our results show that holding information about the location of the dots in working memory delayed judgments of beauty but not of liking. Also, the greater participants' working memory capacity, the faster they completed the working memory task when judging liking, but not when judging beauty. Our study provides evidence that judging beauty draws more on working memory resources than judging liking.

Medial prefrontal cortex involvement in aesthetic appreciation of paintings: a tDCS study.

Among the brain regions involved in the aesthetic evaluation of paintings, the prefrontal cortex seems to play a pivotal role. In particular, consistent neuroimaging evidence indicates that activity in the dorsolateral prefrontal cortex (mainly in the left hemisphere) and in medial and orbital sectors of the prefrontal cortex is linked to viewing aesthetically pleasing images. In this study, we focused on the contribution of the medial prefrontal cortex (mPFC) in mediating aesthetic decisions about paintings. We found that enhancing excitability in this region via anodal tDCS led participants to judge paintings as more beautiful. Although significant, the effects were moderate, possibly due to the neutral affective value of the artworks we used, suggesting that activity in mPFC may be critically dependent on the affective impact of the paintings.

A Set of 200 Musical Stimuli Varying in Balance, Contour, Symmetry, and Complexity: Behavioral and Computational Assessments.

We present a novel set of 200 Western tonal musical stimuli (MUST) to be used in research on perception and appreciation of music. It consists of four subsets of 50 stimuli varying in balance, contour, symmetry, or complexity. All are 4 s long and designed to be musically appealing and experimentally controlled. We assessed them behaviorally and computationally. The behavioral assessment (Study 1) aimed to determine whether musically untrained participants could identify variations in each attribute. Forty-three participants rated the stimuli in each subset on the corresponding attribute. We found that inter-rater reliability was high and that the ratings mirrored the design features well. Participants' ratings also served to create an abridged set of 24 stimuli per subset. The computational assessment (Study 2) required the development of a specific battery of computational measures describing the structural properties of each stimulus. We distilled nonredundant composite measures for each attribute and examined whether they predicted participants' ratings. Our results show that the composite measures indeed predicted participants' ratings. Moreover, the composite complexity measure predicted complexity ratings as well as existing models of musical complexity. We conclude that the four subsets are suitable for use in studies that require presenting participants with short musical motifs varying in balance, contour, symmetry, or complexity, and that the stimuli and the computational measures are valuable resources for research in music psychology, empirical aesthetics, music information retrieval, and musicology. The MUST set and MATLAB toolbox codifying the computational measures are freely available at osf.io/bfxz7.

Psychological models of art reception must be empirically grounded.

We commend Menninghaus et al. for tackling the role of negative emotions in art reception. However, their model suffers from shortcomings that reduce its applicability to empirical studies of the arts: poor use of evidence, lack of integration with other models, and limited derivation of testable hypotheses. We argue that theories about art experiences should be based on empirical evidence.

Impact of contour on aesthetic judgments and approach-avoidance decisions in architecture.

On average, we urban dwellers spend about 90% of our time indoors, and share the intuition that the physical features of the places we live and work in influence how we feel and act. However, there is surprisingly little research on how architecture impacts behavior, much less on how it influences brain function. To begin closing this gap, we conducted a functional magnetic resonance imaging study to examine how systematic variation in contour impacts aesthetic judgments and approach-avoidance decisions, outcome measures of interest to both architects and users of spaces alike. As predicted, participants were more likely to judge spaces as beautiful if they were curvilinear than rectilinear. Neuroanatomically, when contemplating beauty, curvilinear contour activated the anterior cingulate cortex exclusively, a region strongly responsive to the reward properties and emotional salience of objects. Complementing this finding, pleasantness--the valence dimension of the affect circumplex--accounted for nearly 60% of the variance in beauty ratings. Furthermore, activation in a distributed brain network known to underlie the aesthetic evaluation of different types of visual stimuli covaried with beauty ratings. In contrast, contour did not affect approach-avoidance decisions, although curvilinear spaces activated the visual cortex. The results suggest that the well-established effect of contour on aesthetic preference can be extended to architecture. Furthermore, the combination of our behavioral and neural evidence underscores the role of emotion in our preference for curvilinear objects in this domain.

The role of the lateral occipital cortex in aesthetic appreciation of representational and abstract paintings: a TMS study.

Neuroimaging studies of aesthetic appreciation have shown that activity in the lateral occipital area (LO)-a key node in the object recognition pathway-is modulated by the extent to which visual artworks are liked or found beautiful. However, the available evidence is only correlational. Here we used transcranial magnetic stimulation (TMS) to investigate the putative causal role of LO in the aesthetic appreciation of paintings. In our first experiment, we found that interfering with LO activity during aesthetic appreciation selectively reduced evaluation of representational paintings, leaving appreciation of abstract paintings unaffected. A second experiment demonstrated that, although the perceived clearness of the images overall positively correlated with liking, the detrimental effect of LO TMS on aesthetic appreciation does not owe to TMS reducing perceived clearness. Taken together, our findings suggest that object-recognition mechanisms mediated by LO play a causal role in aesthetic appreciation of representational art.

The role of prefrontal and parietal cortices in esthetic appreciation of representational and abstract art: a TMS study.

To explain the biological foundations of art appreciation is to explain one of our species' distinctive traits. Previous neuroimaging and electrophysiological studies have pointed to the prefrontal and the parietal cortex as two critical regions mediating esthetic appreciation of visual art. In this study, we applied transcranial magnetic stimulation (TMS) over the left prefrontal cortex and the right posterior parietal cortex while participants were evaluating whether they liked, and by how much, a particular painting. By depolarizing cell membranes in the targeted regions, TMS transiently interferes with the activity of specific cortical areas, which allows clarifying their role in a given task. Our results show that both regions play a fundamental role in mediating esthetic appreciation. Critically though, the effects of TMS varied depending on the type of art considered (i.e. representational vs. abstract) and on participants' a-priori inclination toward one or the other.

Defensive emotions and evaluative judgements: Sensitivity to anger and fear predicts moral judgements, whereas sensitivity to disgust predicts aesthetic judgements.

Aesthetic and moral evaluations engage appetitive and defensive emotions. While the role played by pleasure in positive aesthetic and moral judgements has been extensively researched, little is known about how defensive emotions influence negative aesthetic and moral judgements. Specifically, it is unknown which defensive emotions such judgements tap into, and whether both kinds of judgement share a common emotional root. Here, we investigated how participants' individual sensitivity to disgust, fear, anger and sadness predicted subjective judgements of aesthetic and moral stimuli. Bayesian modelling revealed that participants who were more sensitive to anger and fear found conventional and moral transgressions more wrong. In contrast, participants who were more sensitive to disgust disliked asymmetrical geometric patterns and untidy rooms more. These findings suggest that aesthetic and moral evaluations engage multiple defensive emotions, not just disgust, and that they may rely on different defensive emotions as part of their computational mechanism.

Sex-related similarities and differences in the neural correlates of beauty.

The capacity to appreciate beauty is one of our species' most remarkable traits. Although knowledge about its neural correlates is growing, little is known about any gender-related differences. We have explored possible differences between men and women's neural correlates of aesthetic preference. We have used magnetoencephalography to record the brain activity of 10 male and 10 female participants while they decided whether or not they considered examples of artistic and natural visual stimuli to be beautiful. Our results reveal significantly different activity between the sexes in parietal regions when participants judged the stimuli as beautiful. Activity in this region was bilateral in women, whereas it was lateralized to the right hemisphere in men. It is known that the dorsal visual processing stream, which encompasses the superior parietal areas, has been significantly modified throughout human evolution. We posit that the observed gender-related differences are the result of evolutionary processes that occurred after the splitting of the human and chimpanzee lineages. In view of previous results on gender differences with respect to the neural correlates of coordinate and categorical spatial strategies, we infer that the different strategies used by men and women in assessing aesthetic preference may reflect differences in the strategies associated with the division of labor between our male and female hunter-gatherer hominin ancestors.

How universal is preference for visual curvature? A systematic review and meta-analysis.

Evidence dating back a century shows that humans are sensitive to and exhibit a preference for visual curvature. This effect has been observed in different age groups, human cultures, and primate species, suggesting that a preference for curvature could be universal. At the same time, several studies have found that preference for curvature is modulated by contextual and individual factors, casting doubt on this hypothesis. To resolve these conflicting findings, we conducted a systematic meta-analysis of studies that have investigated the preference for visual curvature. Our meta-analysis included 61 studies which provided 106 independent samples and 309 effect sizes. The results of a three-level random effects model revealed a Hedges' g of 0.39-consistent with a medium effect size. Further analyses revealed that preference for curvature is moderated by four factors: presentation time, stimulus type, expertise, and task. Together, our results suggest that preference for visual curvature is a reliable but not universal phenomenon and is influenced by factors other than perceptual information.

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.

The Copenhagen Neuroaesthetics Conference: prospects and pitfalls for an emerging field.

Neuroaesthetics is a young field of research concerned primarily with the neural basis of cognitive and affective processes engaged when an individual takes an aesthetic or artistic approach towards a work of art, a non-artistic object or a natural phenomenon. In September 2009, the Copenhagen Neuroaesthetics Conference brought together leading researchers in the field to present and discuss current advances. We summarize some of the principal themes of the conference, placing neuroaesthetics in a historical context and discussing its scope and relation to other disciplines. We also identify what we believe to be the key outstanding questions, the main pitfalls and challenges faced by the field, and some promising avenues for future research.

The nature of beauty: behavior, cognition, and neurobiology.

Beauty is commonly used to refer to positive evaluative appraisals that are uniquely human. Little is known, however, about what distinguishes beauty in terms of psychological function or neurobiological mechanisms. Our review describes recent empirical studies and synthesizes what behavioral, cognitive, and neuroscientific experiments have revealed about the nature of beauty. These findings suggest that beauty shares computational mechanisms with other forms of hedonic appraisal of sensory objects but is distinguished by specific conceptual expectations. Specifically, experiencing an object as pleasurable is a prerequisite for judging it to be beautiful; but to qualify as beautiful, an object must elicit especially high levels of pleasure and be matched to internal learned models of what counts as beautiful. We discuss how these empirical findings contradict several assumptions about beauty, including the notion that beauty is disinterested, and that it is specific to Homo sapiens.

Emotional representations of space vary as a function of peoples' affect and interoceptive sensibility.

Most research on people's representation of space has focused on spatial appraisal and navigation. But there is more to space besides navigation and assessment: people have different emotional experiences at different places, which create emotionally tinged representations of space. Little is known about the emotional representation of space and the factors that shape it. The purpose of this study was to develop a graphic methodology to study the emotional representation of space and some of the environmental features (non-natural vs. natural) and personal features (affective state and interoceptive sensibility) that modulate it. We gave participants blank maps of the region where they lived and asked them to apply shade where they had happy/sad memories, and where they wanted to go after Covid-19 lockdown. Participants also completed self-reports on affective state and interoceptive sensibility. By adapting methods for analyzing neuroimaging data, we examined shaded pixels to quantify where and how strong emotions are represented in space. The results revealed that happy memories were consistently associated with similar spatial locations. Yet, this mapping response varied as a function of participants' affective state and interoceptive sensibility. Certain regions were associated with happier memories in participants whose affective state was more positive and interoceptive sensibility was higher. The maps of happy memories, desired locations to visit after lockdown, and regions where participants recalled happier memories as a function of positive affect and interoceptive sensibility overlayed significantly with natural environments. These results suggest that people's emotional representations of their environment are shaped by the naturalness of places, and by their affective state and interoceptive sensibility.

A Farewell to Art: Aesthetics as a Topic in Psychology and Neuroscience.

Empirical aesthetics and neuroaesthetics study two main issues: the valuation of sensory objects and art experience. These two issues are often treated as if they were intrinsically interrelated: Research on art experience focuses on how art elicits aesthetic pleasure, and research on valuation focuses on special categories of objects or emotional processes that determine the aesthetic experience. This entanglement hampers progress in empirical aesthetics and neuroaesthetics and limits their relevance to other domains of psychology and neuroscience. Substantial progress in these fields is possible only if research on aesthetics is disentangled from research on art. We define aesthetics as the study of how and why sensory stimuli acquire hedonic value. Under this definition, aesthetics becomes a fundamental topic for psychology and neuroscience because it links hedonics (the study of what hedonic valuation is in itself) and neuroeconomics (the study of how hedonic values are integrated into decision making and behavioral control). We also propose that this definition of aesthetics leads to concrete empirical questions, such as how perceptual information comes to engage value signals in the reward circuit or why different psychological and neurobiological factors elicit different appreciation events for identical sensory objects.

There are no aesthetic emotions: Comment on Menninghaus et al. (2019).

Menninghaus and colleagues (2019) have recently argued that aesthetic emotions constitute a distinct class of emotions. They claim that aesthetic emotions are distinct because they involve an aesthetic evaluation, they are tuned to specific aesthetic virtues, they involve subjectively felt pleasure or displeasure, and predict liking or disliking. Here we examine the theory in the light of psychological and neurobiological empirical findings. We show that Menninghaus and colleagues failed to provide evidence that aesthetic emotions are different than other kinds of emotions in terms of psychological components or neurobiological underpinnings. We present empirical evidence that strongly suggests that affective states observed during aesthetic appreciation events are not distinctly different from affective states observed during other forms of sensory valuation. We conclude that it may be time to retire the idea that aesthetic emotions constitute a special class of human emotions. (PsycInfo Database Record (c) 2020 APA, all rights reserved).

Reply to Myszkowski et al. (2020): Some matters of fact concerning aesthetic sensitivity.

We respond to some of Myszkowski and colleagues' (2020, Br. J. Psychology) critical comments on our recent work on aesthetic sensitivity (Corradi, Chuquichambi, Barrada, Clemente, & Nadal, 2020, Br. J. Psychology). We show that these comments stem mostly from factual inaccuracies.

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.