On the joys of perceiving: Affect as feedback for perceptual predictions

Nature heals: An informational entropy account of self-organization and change in field psychotherapy

This paper reviews biophysical models of psychotherapeutic change based on synergetics and the free energy principle. These models suggest that introducing sensory surprise into the patient-therapist system can lead to self-organization and the formation of new attractor states, disrupting entrenched patterns of thoughts, emotions, and behaviours. We propose that the therapist can facilitate this process by cultivating epistemic trust and modulating embodied attention to allow surprising affective states to enter shared awareness. Transient increases in free energy enable the update of generative models, expanding the range of experiences available within the patient-therapist phenomenal field. We hypothesize that patterns of disorganization at behavioural and physiological levels, indexed by increased entropy, complexity, and lower determinism, are key markers and predictors of psychotherapeutic gains. Future research should investigate how the therapist's openness to novelty shapes therapeutic outcomes.

Examining interpersonal metacognitive monitoring in artificial grammar learning

This study investigates the observers' ability to monitor the ongoing cognitive processes of a partner who is implicitly learning an artificial grammar. Our hypothesis posits that learners experience metacognitive feelings as they attempt to apply their implicit knowledge, and that observers are capable of detecting and interpreting these feelings as cues of the learner's cognitive state. For instance, learners might encounter affective signals linked to cognitive conflicts and errors at different processing stages, which observers can construe as manifestations of the learner's cognitive dissonance. The research involved 126 participants organized into dyads, with one participant acting as a learner, and the other as an observer. The observer's task was to judge whether the learner agrees with the information presented (consonance judgment) and was limited to reading the learner's nonverbal signals to avoid explicit mindreading. The findings suggest that observers possess mindreading abilities, enabling them to detect both learners' confidence and accuracy in stimuli classification. This extends our understanding of non-verbal mindreading capabilities and indicates that observers can effectively interpret early implicit metacognitive information, even in the absence of explicit self-evaluation from the learners. This research offers significant insights into how individuals interpret others' mental states during implicit learning tasks, particularly in the context of utilizing early affective cues within the Artificial Grammar Learning paradigm.

Prägnanz in visual perception

How do we perceptually and cognitively organize incoming stimulation? A century ago, Gestalt psychologists posited the law of Prägnanz: psychological organization will always be as 'good' as possible given the prevailing conditions. To make the Prägnanz law a useful statement, it needs to be specified further (a) what a 'good' psychological organization entails, (b) how the Prägnanz tendency can be realized, and (c) which conditions need to be taken into account. Although the Gestalt school did provide answers to these questions, modern-day mentions of Prägnanz or good Gestalt often lack these clarifications. The concept of Prägnanz has been (mis)understood in many different ways, and by looking back on the rich history of the concept, we will attempt to present a more fine-grained view and promote a renewed understanding of the central role of Prägnanz in visual perception and beyond. We review Gestalt psychology's answers to the questions listed above, and also discuss the four main uses of the Prägnanz concept in more detail: (a) a Prägnanz tendency in each organizational process, (b) Prägnanz as a property of a Gestalt, (c) Prägnanz steps as internal reference points, and (d) Prägnanz in relation to aesthetic appreciation. As a key takeaway, Prägnanz is a multifaceted Gestalt psychological concept indicating the "goodness" of an experienced organization. Both the removal of unnecessary details and the emphasis on characteristic features of the overall organization compared to a reference organization can contribute to the emergence of a 'better' Gestalt. The stimulus constellation is not the only factor in determining the goodness of an organization, also the stimulus' interaction with an individual in a specific spatial and temporal context plays a role. Taking the ideas on Prägnanz as a generative framework and keeping the original Gestalt psychological context in mind, future research on perceptual organization can improve our understanding of the principles underlying psychological organization by further specifying how different organizational principles interact in concrete situations. Public significance statement: This paper reviews what a 'good' psychological organization entails, and how the incoming stimulation is clarified in human perception to achieve the best possible psychological organization. The review debunks common misconceptions on the meaning of "goodness" and synthesizes the most important perspectives and developments on "goodness" from its conception until now.

Affective valence does not reflect progress prediction errors in perceptual decisions

Affective valence and intensity form the core of our emotional experiences. It has been proposed that affect reflects the prediction error between expected and actual states, such that better/worse-than-expected discrepancies result in positive/negative affect. However, whether the same principle applies to progress prediction errors remains unclear. We empirically and computationally evaluate the hypothesis that affect reflects the difference between expected and actual progress in forming a perceptual decision. We model affect within an evidence accumulation framework where actual progress is mapped onto the drift-rate parameter and expected progress onto an expected drift-rate parameter. Affect is computed as the difference between the expected and actual amount of accumulated evidence. We find that expected and actual progress both influence affect, but in an additive manner that does not align with a prediction error account. Our computational model reproduces both task behavior and affective ratings, suggesting that sequential sampling models provide a promising framework to model progress appraisals. These results show that although affect is sensitive to both expected and actual progress, it does not reflect the computation of a progress prediction error.

A hole in a piece of cardboard and predictive brain: the incomprehension of modern art in the light of the predictive coding paradigm

Incomprehension of and resistance to contemporaneous art have been constant features in the development of modern art. The predictive coding framework can be used to analyse this response by outlining the difference between the misunderstanding of (i) contemporary conceptual/minimalist art and (ii) early modern avant-garde art and by elucidating their underlying cognitive mechanisms. In both of these cases, incomprehension and its behavioural consequences are tied to the failure of the optimal prediction error (PE) minimization that is involved in the perception of such art works. In the case of contemporary conceptual/minimalist art the failure stems from the fact that the encounter results in non-salient visual sensations and generates no PE. In early modern avant-garde art, the occasional inability of viewers to recognize pictorial content using new pictorial conventions reflected the absence of suitable priors to explain away ambiguous sensory data. The capacity to recognize pictorial content in modernist painting, as a prerequisite for a satisfying encounter with such works and ultimately a wider acceptance of new artistic styles, required an updating of a number of expectations in order to optimize the fit between priors and sensations, from low-level perceptual priors to the development of higher-level, culturally determined expectations. This article is part of the theme issue 'Art, aesthetics and predictive processing: theoretical and empirical perspectives'.

The aesthetic valve: how aesthetic appreciation may switch emotional states from anxiety to curiosity

Pursuing new knowledge in the entropic environment is pivotal for survival. However, dealing with uncertainty is a costly challenge for the agent surrounded by the stochastic sensory world, giving rise to different epistemic emotions, such as curiosity and anxiety. We recently proposed that aesthetic appreciation may have the role of associating pleasant feedback with the update of predictive representations. According to this idea, aesthetic appreciation and its associated rewarding feeling could drive people to seek new knowledge over anxiety. However, the relationship between aesthetic appreciation, curiosity, and anxiety has been still under-examined in the literature. Here, we explore the relationship between these epistemic emotions in a series of three experiments. In study 1, we examined whether music-induced aesthetic appreciation would influence curiosity in a gambling task. In studies 2a and 2b, we explore the relationship between music-induced aesthetic appreciation and anxiety state. Overall, aesthetic appreciation promoted curiosity-driven behaviour while it was negatively associated with anxiety. These results were consistent with the idea that aesthetic appreciation could act as a 'valve', prompting the individual to perceive curiosity (i.e. to consider novelty as a valuable opportunity to acquire new knowledge) rather than anxiety (i.e. to consider novelty as a risk to be avoided). This article is part of the theme issue 'Art, aesthetics and predictive processing: theoretical and empirical perspectives'.

Predicting instabilities: an embodied perspective on unstable experiences with art and design

Predictive Processing (PP) provides a theoretical framework that describes perception as a process attempting to increase the predictability of stimulations by updating predictions or exploring new sensations. Moreover, perception and action are assumed to be closely linked within this process. While organisms seem to strive for predictability, we sometimes expose ourselves to objects and situations that challenge sense-making-such conditions often break perceptual habits or offer multiple possible meanings. This paper updates a previous qualification of these experiences of 'Semantic Instability' (SeIns) by following an embodied and situated understanding of perception and cognition. We suggest that art perception essentially differs from problem-solving as in engaging with art, we typically integrate contradictory elements dynamically and without the ultimate goal of resolving the contradictions-on the contrary, SeIns itself can generate aesthetic hedonics and interest. We discuss how current embodied accounts of PP might help understand what motivates such unstable yet insightful and pleasurable nonlinear sense-making processes. This article is part of the theme issue 'Art, aesthetics and predictive processing: theoretical and empirical perspectives'.

Perceptual oddities: assessing the relationship between film editing and prediction processes

During film viewing, humans parse sequences of individual shots into larger narrative structures, often weaving transitions at edit points into an apparently seamless and continuous flow. Editing helps filmmakers manipulate visual transitions to induce feelings of fluency/disfluency, tension/relief, curiosity, expectation and several emotional responses. We propose that the perceptual dynamics induced by film editing can be captured by a predictive processing (PP) framework. We hypothesise that visual discontinuities at edit points produce discrepancies between anticipated and actual sensory input, leading to prediction error. Further, we propose that the magnitude of prediction error depends on the predictability of each shot within the narrative flow, and lay out an account based on conflict monitoring. We test this hypothesis in two empirical studies measuring electroencephalography (EEG) during passive viewing of film excerpts, as well as behavioural responses during an active edit detection task. We report the neural and behavioural modulations at editing boundaries across three levels of narrative depth, showing greater modulations for edits spanning less predictable, deeper narrative transitions. Overall, our contribution lays the groundwork for understanding film editing from a PP perspective. This article is part of the theme issue 'Art, aesthetics and predictive processing: theoretical and empirical perspectivess'.

Metaphors or mechanism? Predictive coding and a (brief) history of empirical study of the arts

Predictive processing (PP) offers an intriguing approach to perception, cognition, but also to appreciation of the arts. It does this by positing both a theoretical basis-one might say a 'metaphor'-for how we engage and respond, placing emphasis on mismatches rather than fluent overlap between schema and environment. Even more, it holds the promise for translating metaphor into neurobiological bases, suggesting a means for considering mechanisms-from basic perceptions to possibly even our complex, aesthetic experiences. However, while we share the excitement of this promise, the history of empirical or psychological aesthetics is also permeated by metaphors that have progressed our understanding but which also tend to elude translation into concrete, mechanistic operationalization-a challenge that can also be made to PP. We briefly consider this difficulty of convincing implementation of PP via a brief historical outline of some developments in the psychological study of aesthetics and art in order to show how these ideas have often anticipated PP but also how they have remained at the level of rather metaphorical and difficult-to-measure concepts. Although theoretical in scope, we hope that this commentary will spur researchers to reflect on PP with the aim of translating metaphorical explanations into well-defined mechanisms in future empirical study. This article is part of the theme issue 'Art, aesthetics and predictive processing: theoretical and empirical perspectives'.

The Role of Visual Factors in Dyslexia

What are the causes of dyslexia? Decades of research reflect a determined search for a single cause where a common assumption is that dyslexia is a consequence of problems with converting phonological information into lexical codes. But reading is a highly complex activity requiring many well-functioning mechanisms, and several different visual problems have been documented in dyslexic readers. We critically review evidence from various sources for the role of visual factors in dyslexia, from magnocellular dysfunction through accounts based on abnormal eye movements and attentional processing, to recent proposals that problems with high-level vision contribute to dyslexia. We believe that the role of visual problems in dyslexia has been underestimated in the literature, to the detriment of the understanding and treatment of the disorder. We propose that rather than focusing on a single core cause, the role of visual factors in dyslexia fits well with risk and resilience models that assume that several variables interact throughout prenatal and postnatal development to either promote or hinder efficient reading.

Priming of probabilistic attentional templates

Attentional priming has a dominating influence on vision, speeding visual search, releasing items from crowding, reducing masking effects, and during free-choice, primed targets are chosen over unprimed ones. Many accounts postulate that templates stored in working memory control what we attend to and mediate the priming. But what is the nature of these templates (or representations)? Analyses of real-world visual scenes suggest that tuning templates to exact color or luminance values would be impractical since those can vary greatly because of changes in environmental circumstances and perceptual interpretation. Tuning templates to a range of the most probable values would be more efficient. Recent evidence does indeed suggest that the visual system represents such probability, gradually encoding statistical variation in the environment through repeated exposure to input statistics. This is consistent with evidence from neurophysiology and theoretical neuroscience as well as computational evidence of probabilistic representations in visual perception. I argue that such probabilistic representations are the unit of attentional priming and that priming of, say, a repeated single-color value simply involves priming of a distribution with no variance. This "priming of probability" view can be modelled within a Bayesian framework where priming provides contextual priors. Priming can therefore be thought of as learning of the underlying probability density function of the target or distractor sets in a given continuous task.

Surprise! Why Insightful Solution Is Pleasurable

Insight problems-as a type of ill-defined problems-are often solved without an articulate plan, and finding their solution is accompanied by the Aha! experience (positive feeling from suddenly finding a solution). However, the solution of such problems can also be guided, for example, by expectations in terms of criteria for achieving the goal. We hypothesize that adjusting the expectation accuracy based on the reward prediction error (discrepancy between the reward and its prediction) affects the strength of affective components of the Aha! experience (pleasure and surprise), allowing to learn how to solve similar problems. We manipulated expectation accuracy by varying the similarity in problem solution principle and structure in a short learning set. Each set was followed by a critical problem where both the structure and solution principle were changed (except for control set). Subjective feelings, solution time, and expectation were measured after each problem. The results revealed that problems with similarities become more expected at the end of the set and their solution time is decreased. However, the critical problem featured a rapid increase in pleasure and surprise and decrease in expectedness only in the condition where both the solution principle and structure were expected, suggesting that problem structure is a key feature determining expectedness in insight problem solving. The Aha! experience is not an epiphenomenon; it plays a role in learning of problem solving through adjusting expectations.

Sweet spot in music-Is predictability preferred among persons with psychotic-like experiences or autistic traits?

People prefer music with an intermediate level of predictability; not so predictable as to be boring, yet not so unpredictable that it ceases to be music. This sweet spot for predictability varies due to differences in the perception of predictability. The symptoms of both psychosis and Autism Spectrum Disorder have been attributed to overestimation of uncertainty, which predicts a preference for predictable stimuli and environments. In a pre-registered study, we tested this prediction by investigating whether psychotic and autistic traits were associated with a higher preference for predictability in music. Participants from the general population were presented with twenty-nine pre-composed music excerpts, scored on their complexity by musical experts. A participant's preferred level of predictability corresponded to the peak of the inverted U-shaped curve between music complexity and liking (i.e., a Wundt curve). We found that the sweet spot for predictability did indeed vary between individuals. Contrary to predictions, we did not find support for these variations being associated with autistic and psychotic traits. The findings are discussed in the context of the Wundt curve and the use of naturalistic stimuli. We also provide recommendations for further exploration.

Beauty and Uncertainty as Transformative Factors: A Free Energy Principle Account of Aesthetic Diagnosis and Intervention in Gestalt Psychotherapy

Drawing from field theory, Gestalt therapy conceives psychological suffering and psychotherapy as two intentional field phenomena, where unprocessed and chaotic experiences seek the opportunity to emerge and be assimilated through the contact between the patient and the therapist (i.e., the intentionality of contacting). This therapeutic approach is based on the therapist’s aesthetic experience of his/her embodied presence in the flow of the healing process because (1) the perception of beauty can provide the therapist with feedback on the assimilation of unprocessed experiences; (2) the therapist’s attentional focus on intrinsic aesthetic diagnostic criteria can facilitate the modification of rigid psychopathological fields by supporting the openness to novel experiences. The aim of the present manuscript is to review recent evidence from psychophysiology, neuroaesthetic research, and neurocomputational models of cognition, such as the free energy principle (FEP), which support the notion of the therapeutic potential of aesthetic sensibility in Gestalt psychotherapy. Drawing from neuroimaging data, psychophysiology and recent neurocognitive accounts of aesthetic perception, we propose a novel interpretation of the sense of beauty as a self-generated reward motivating us to assimilate an ever-greater spectrum of sensory and affective states in our predictive representation of ourselves and the world and supporting the intentionality of contact. Expecting beauty, in the psychotherapeutic encounter, can help therapists tolerate uncertainty avoiding impulsive behaviours and to stay tuned to the process of change.

Memorisation and implicit perceptual learning are enhanced for preferred musical intervals and chords

Is it true that we learn better what we like? Current neuroaesthetic and neurocomputational models of aesthetic appreciation postulate the existence of a correlation between aesthetic appreciation and learning. However, even though aesthetic appreciation has been associated with attentional enhancements, systematic evidence demonstrating its influence on learning processes is still lacking. Here, in two experiments, we investigated the relationship between aesthetic preferences for consonance versus dissonance and the memorisation of musical intervals and chords. In Experiment 1, 60 participants were first asked to memorise and evaluate arpeggiated triad chords (memorisation phase), then, following a distraction task, chords’ memorisation accuracy was measured (recognition phase). Memorisation resulted to be significantly enhanced for subjectively preferred as compared with non-preferred chords. To explore the possible neural mechanisms underlying these results, we performed an EEG study, directed to investigate implicit perceptual learning dynamics (Experiment 2). Through an auditory mismatch detection paradigm, electrophysiological responses to standard/deviant intervals were recorded, while participants were asked to evaluate the beauty of the intervals. We found a significant trial-by-trial correlation between subjective aesthetic judgements and single trial amplitude fluctuations of the ERP attention-related N1 component. Moreover, implicit perceptual learning, expressed by larger mismatch detection responses, was enhanced for more appreciated intervals. Altogether, our results showed the existence of a relationship between aesthetic appreciation and implicit learning dynamics as well as higher-order learning processes, such as memorisation. This finding might suggest possible future applications in different research domains such as teaching and rehabilitation of memory and attentional deficits.

Trait anxiety is linked to increased usage of priors in a perceptual decision making task

Current predictive processing accounts consider negative affect to result from elevated rates of prediction error, thereby motivating changes in the degree with which prior expectancies and sensory evidence influence our perceptions. Trait anxiety is associated with the amount of negative affect a person is experiencing and has been linked to aberrant strategies in decision making and belief updating. Here, we assessed the degree to which induced prior expectancies influenced motion judgements in a simple perceptual decision making task in 117 healthy participants with varying levels of trait anxiety. High trait anxious individuals showed increased usage of priors, independent from the amount of sensory uncertainty that was perceived. This finding demonstrates aberrant strategies of belief updating in anxiety even in evaluating nonthreatening visual motion stimuli, and thus suggest an influential role of affective traits in processes of perceptual inference.

"Stopping for knowledge": The sense of beauty in the perception-action cycle

According to a millennial-old philosophical debate, aesthetic emotions have been connected to knowledge acquisition. Recent scientific evidence, collected across different disciplinary domains, confirms this link, but also reveals that motor inhibition plays a crucial role in the process. In this review, we discuss multidisciplinary results and propose an original account of aesthetic appreciation (the stopping for knowledge hypothesis) framed within the predictive coding theory. We discuss evidence showing that aesthetic emotions emerge in correspondence with an inhibition of motor behavior (i.e., minimizing action), promoting a simultaneous perceptual processing enhancement, at the level of sensory cortices (i.e., optimizing learning). Accordingly, we suggest that aesthetic appreciation may represent a hedonic feedback over learning progresses, motivating the individual to inhibit motor routines to seek further knowledge acquisition. Furthermore, the neuroimaging and neuropsychological studies we review reveal the presence of a strong association between aesthetic appreciation and the activation of the dopaminergic reward-related circuits. Finally, we propose a number of possible applications of the stopping for knowledge hypothesis in the clinical and education domains.

From cognitive control to visual incongruity: Conflict detection in surrealistic images

This study explored brain responses to images that exploit incongruity as a creative technique, often used in advertising (i.e., surrealistic images). We hypothesized that these images would reveal responses akin to cognitive conflict resulting from incongruent trials in typical laboratory tasks (i.e., Stroop Task). Indeed, in many surrealistic images, common visual elements are juxtaposed to create un-ordinary associations with semantically conflicting representations. We expected that these images engage the conflict processing network that has been described in cognitive neuroscience theories. We addressed this hypothesis by measuring the power of mid-frontal Theta oscillations using EEG while participants watched images through a social media-like interface. Incongruent images, compared to controls, produced a significant Theta power increase, as predicted from the cognitive conflict theory. We also found increased memory for incongruent images one week after exposure, compared to the controls. These findings provide evidence for the incongruent images to effectively engage the viewer's cognitive control and boost memorability. The results of this study provide validation of cognitive theories in real-life scenarios (i.e., surrealistic ads or art) and offer insights regarding the use of neural correlates as effectiveness metrics in advertising.

Enculturation without TTOM and Bayesianism without FEP: Another Bayesian theory of culture is needed

First, I discuss cross-cultural evidence showing that a good deal of enculturation takes place outside of thinking through other minds. Second, I review evidence challenging the claim that humans seek to minimize entropy. Finally, I argue that optimality claims should be avoided, and that descriptive Bayesianism offers a more promising avenue for the development of a Bayesian theory of culture.

Aesthetic appreciation of musical intervals enhances behavioural and neurophysiological indexes of attentional engagement and motor inhibition

From Kant to current perspectives in neuroaesthetics, the experience of beauty has been described as disinterested, i.e. focusing on the stimulus perceptual features while neglecting self-referred concerns. At a neurophysiological level, some indirect evidence suggests that disinterested aesthetic appreciation might be associated with attentional enhancement and inhibition of motor behaviour. To test this hypothesis, we performed three auditory-evoked potential experiments, employing consonant and dissonant two-note musical intervals. Twenty-two volunteers judged the beauty of intervals (Aesthetic Judgement task) or responded to them as fast as possible (Detection task). In a third Go-NoGo task, a different group of twenty-two participants had to refrain from responding when hearing intervals. Individual aesthetic judgements positively correlated with response times in the Detection task, with slower motor responses for more appreciated intervals. Electrophysiological indexes of attentional engagement (N1/P2) and motor inhibition (N2/P3) were enhanced for more appreciated intervals. These findings represent the first experimental evidence confirming the disinterested interest hypothesis and may have important applications in research areas studying the effects of stimulus features on learning and motor behaviour.

Beauty in mind: Aesthetic appreciation correlates with perceptual facilitation and attentional amplification

Neuroaesthetic research suggests that aesthetic appreciation results from the interaction between the object perceptual features and the perceiver's sensory processing dynamics. In the present study, we investigated the relationship between aesthetic appreciation and attentional modulation at a behavioural and psychophysiological level. In a first experiment, fifty-eight healthy participants performed a visual search task with abstract stimuli containing more or less natural spatial frequencies and subsequently were asked to give an aesthetic evaluation of the images. The results evidenced that response times were faster for more appreciated stimuli. In a second experiment, we recorded visual evoked potentials (VEPs) during exposure to the same stimuli. The results showed, only for more appreciated images, an enhancement in C1 and N1, P3 and N4 VEP components. Moreover, we found increased attention-related occipital alpha desynchronization for more appreciated images. We interpret these data as indicative of the existence of a correlation between aesthetic appreciation and perceptual processing enhancement, both at a behavioural and at a neurophysiological level.

Conflict-Elicited Negative Evaluations of Neutral Stimuli: Testing Overt Responses and Stimulus-Frequency Differences as Critical Side Conditions

Prior research has shown that a stimulus signaling a conflict (such as an incongruent Stroop stimulus) as a prime can elicit more negative evaluations of an otherwise neutral and unrelated stimulus as a target. Yet, there are many side conditions that could at least partly be responsible for such effects like the frequencies of congruent and conflicting stimuli or overt responses to the conflicting stimuli. Here, we tested the influences of stimulus frequencies and overt responses on the strength of this priming effect. In four experiments, we demonstrate that overt responses in-between prime and target do not delete the conflict-elicited evaluation effect (Experiments 1a vs. 1b), while an overall higher frequency of conflicting trials (Experiment 2a) and an overall lower frequency of congruent trials (Experiment 3) can both abolish the priming effect. In contrast, a higher frequency of specific conflicting conditions was ineffective (Experiment 2b). Together, our results confirm that conflict is indeed the origin of the priming of negative evaluations.

Affective responses to coherence in high and low risk scenarios

Presenting information in a coherent fashion has been shown to increase processing fluency, which in turn influences affective responses. The pattern of responses have been explained by two apparently competing accounts: hedonic marking (response to fluency is positive) and fluency amplification (response to fluency can be positive or negative, depending on stimuli valence). This paper proposes that these accounts are not competing explanations, but separate mechanisms, serving different purposes. Therefore, their individual contributions to overall affective responses should be observable. In three experiments, participants were presented with businesses scenarios, with riskiness (valence) and coherence (fluency) manipulated, and affective responses recorded. Results suggested that increasing the fluency of stimuli increases positive affect. If the stimulus is negative, then increasing fluency simultaneously increases negative affect. These affective responses appeared to cancel each other out (Experiment 1) when measured using self-report bipolar scales. However, separate measurement of positive and negative affect, either using unipolar scales (Experiment 2) or using facial electromyography (Experiment 3), provided evidence for co-occurring positive and negative affective responses, and therefore the co-existence of hedonic marking and fluency amplification mechanisms.

Implicit processing during change blindness revealed with mouse-contingent and gaze-contingent displays

People often miss salient events that occur right in front of them. This phenomenon, known as change blindness, reveals the limits of visual awareness. Here, we investigate the role of implicit processing in change blindness using an approach that allows partial dissociation of covert and overt attention. Traditional gaze-contingent paradigms adapt the display in real time according to current gaze position. We compare such a paradigm with a newly designed mouse-contingent paradigm where the visual display changes according to the real-time location of a user-controlled mouse cursor, effectively allowing comparison of change detection with mainly overt attention (gaze-contingent display; Experiment 2) and untethered overt and covert attention (mouse-contingent display; Experiment 1). We investigate implicit indices of target detection during change blindness in eye movement and behavioral data, and test whether affective devaluation of unnoticed targets may contribute to change blindness. The results show that unnoticed targets are processed implicitly, but that the processing is shallower than if the target is consciously detected. Additionally, the partial untethering of covert attention with the mouse-contingent display changes the pattern of search and leads to faster detection of the changing target. Finally, although it remains possible that the deployment of covert attention is linked to implicit processing, the results fall short of establishing a direct connection.

Disillusionment

Recent research has shown that perceptual processes carry intrinsic affect. But prior studies have only manipulated the occurrence of perceptual processes by presenting two different stimulus categories. The present studies go beyond this by manipulating perceptual expectations for identical stimuli. Seven experiments demonstrated that objectively identical stimuli become visually disappointing and are liked less when they violate the expectation that an intrinsically pleasant perceptual process will occur compared to when there is no perceptual expectation. These effects were specific to violations of perceptual expectations. By using between-subjects designs, participants' insight into the experimental manipulation was prevented. In combination with the use of identical stimuli across conditions, this provides the most stringent test of the idea that perception is intrinsically (un-)pleasant yet. The results are related to predictive coding frameworks and provide an explanation for why people sometimes enjoy additional perceptual effort.

The sound of beauty: How complexity determines aesthetic preference

Stimulus complexity is an important determinant of aesthetic preference. An influential idea is that increases in stimulus complexity lead to increased preference up to an optimal point after which preference decreases (inverted-U pattern). However, whereas some studies indeed observed this pattern, most studies instead showed an increased preference for more complexity. One complicating issue is that it remains unclear how to define complexity. To address this, we approached complexity and its relation to aesthetic preference from a predictive coding perspective. Here, low- and high-complexity stimuli would correspond to low and high levels of prediction errors, respectively. We expected participants to prefer stimuli which are neither too easy to predict (low prediction error), nor too difficult (high prediction error). To test this, we presented two sequences of tones on each trial that varied in predictability from highly regular (low prediction error) to completely random (high prediction error), and participants had to indicate which of the two sequences they preferred in a two-interval forced-choice task. The complexity of each tone sequence (amount of prediction error) was estimated using entropy. Results showed that participants tended to choose stimuli with intermediate complexity over those of high or low complexity. This confirms the century-old idea that stimulus complexity has an inverted-U relationship to aesthetic preference.

How Do Actions Influence Attitudes? An Inferential Account of the Impact of Action Performance on Stimulus Evaluation

Over the past decade, an increasing number of studies have shown that the performance of specific actions (e.g., approach and avoidance) in response to a stimulus can lead to changes in how that stimulus is evaluated. In contrast to the reigning idea that these effects are mediated by the automatic formation and activation of associations in memory, we describe an inferential account that specifies the inferences underlying the effects and how these inferences are formed. We draw on predictive processing theories to explain the basic processes underlying inferential reasoning and their main characteristics. Our inferential account accommodates past findings, is supported by new findings, and leads to novel predictions as well as concrete recommendations for how action performance can be used to influence real-world behavior.

Conflict modification: predictable production of congruent situations facilitates responding in a stroop task

Humans cope with cognitive conflict in various ways, such as focusing on task-relevant instead of task-irrelevant information or avoiding situations where conflict is likely. These adaptations to conflict resemble those used to cope with negative affect. We examined whether situation modification, a strategy derived from the extended process model of emotion regulation, may influence responding in cognitive conflict tasks. This should be evident by a facilitation of actions that consistently modify situations towards congruent (positive) situations rather than to incongruent (negative) situations. In four experiments, participants modified stimuli in a color-word Stroop task towards congruent or incongruent stimuli of (un)predictable identity. A modification effect emerged insofar as participants were faster when they foreseeably produced congruent stimuli of predictable identity than when they produced incongruent stimuli or stimuli of unpredictable identity. Our results add to the body of evidence connecting affect and cognitive conflict, and reveal a constraint when using situation modification as a means to regulate cognitive conflict.

Humans show a higher preference for stimuli that are predictive relative to those that are predictable

Recent studies suggest that humans prefer information that is linked to the process of prediction. Yet it remains to be specified whether preference judgments are biased to information that can be predicted, or information that enables to predict. We here use a serial reaction time task to disentangle these two options. In a first learning phase, participants were exposed to a continuous stream of arbitrary shapes while performing a go/no-go task. Embedded in this stream were hidden pairs of go-stimuli (e.g., shape A was always followed by shape B). Data show faster reaction times to predictable shapes (i.e., shape B) as compared to random and predictive shapes (i.e., shape A), indicating that participants learned the regularities and anticipated upcoming information. Importantly, in a subsequent, unannounced forced-choice preference task, the shapes that were predictive of others were significantly more preferred over random shapes than shapes that could be predicted. Because both the reaction time benefit in the learning phase and the effect in the preference phase could be considered rather small, we studied the relation between both. Interestingly, the preference correlated with the reaction time benefit from the learning phase. A closer look at this correlation further suggested that the difference in preference was only observed when participants picked up the contingencies between predictive and predictable shapes. This study adds evidence to the idea that prediction processes are not only fundamental for cognition, but contribute to the way we evaluate our external world.

Blame everyone: Error-related devaluation in Eriksen flanker task

Preferences are determined not only by stimuli themselves but also by the way they are processed in the brain. The efficacy of cognitive processing during previous interactions with stimuli is particularly important. When observers make errors in simple tasks such as visual search, recognition, or categorization, they later dislike the stimuli associated with errors. Here we test whether this error-related devaluation exists in Erisken flanker task and whether it depends on the distribution of attention. We found that both attended stimuli (targets) and ignored ones (distractors) are devaluated after errors on compatible trials but not incompatible ones. The extent of devaluation is similar for targets and distractors, indicating that distribution of attention does not significantly influence the attribution of error-related negative affect. We discuss this finding in light of the possible mechanisms of error-related devaluation.