Neuroaesthetics and the trouble with beauty

Statistical image properties predict aesthetic ratings in abstract paintings created by neural style transfer

Artificial intelligence has emerged as a powerful computational tool to create artworks. One application is Neural Style Transfer, which allows to transfer the style of one image, such as a painting, onto the content of another image, such as a photograph. In the present study, we ask how Neural Style Transfer affects objective image properties and how beholders perceive the novel (style-transferred) stimuli. In order to focus on the subjective perception of artistic style, we minimized the confounding effect of cognitive processing by eliminating all representational content from the input images. To this aim, we transferred the styles of 25 diverse abstract paintings onto 150 colored random-phase patterns with six different Fourier spectral slopes. This procedure resulted in 150 style-transferred stimuli. We then computed eight statistical image properties (complexity, self-similarity, edge-orientation entropy, variances of neural network features, and color statistics) for each image. In a rating study, we asked participants to evaluate the images along three aesthetic dimensions (Pleasing, Harmonious, and Interesting). Results demonstrate that not only objective image properties, but also subjective aesthetic preferences transferred from the original artworks onto the style-transferred images. The image properties of the style-transferred images explain 50 – 69% of the variance in the ratings. In the multidimensional space of statistical image properties, participants considered style-transferred images to be more Pleasing and Interesting if they were closer to a “sweet spot” where traditional Western paintings (JenAesthetics dataset) are represented. We conclude that NST is a useful tool to create novel artistic stimuli that preserve the image properties of the input style images. In the novel stimuli, we found a strong relationship between statistical image properties and subjective ratings, suggesting a prominent role of perceptual processing in the aesthetic evaluation of abstract images.

Do we enjoy what we sense and perceive? A dissociation between aesthetic appreciation and basic perception of environmental objects or events

This integrative review rearticulates the notion of human aesthetics by critically appraising the conventional definitions, offerring a new, more comprehensive definition, and identifying the fundamental components associated with it. It intends to advance holistic understanding of the notion by differentiating aesthetic perception from basic perceptual recognition, and by characterizing these concepts from the perspective of information processing in both visual and nonvisual modalities. To this end, we analyze the dissociative nature of information processing in the brain, introducing a novel local-global integrative model that differentiates aesthetic processing from basic perceptual processing. This model builds on the current state of the art in visual aesthetics as well as newer propositions about nonvisual aesthetics. This model comprises two analytic channels: aesthetics-only channel and perception-to-aesthetics channel. The aesthetics-only channel primarily involves restricted local processing for quality or richness (e.g., attractiveness, beauty/prettiness, elegance, sublimeness, catchiness, hedonic value) analysis, whereas the perception-to-aesthetics channel involves global/extended local processing for basic feature analysis, followed by restricted local processing for quality or richness analysis. We contend that aesthetic processing operates independently of basic perceptual processing, but not independently of cognitive processing. We further conjecture that there might be a common faculty, labeled as aesthetic cognition faculty, in the human brain for all sensory aesthetics albeit other parts of the brain can also be activated because of basic sensory processing prior to aesthetic processing, particularly during the operation of the second channel. This generalized model can account not only for simple and pure aesthetic experiences but for partial and complex aesthetic experiences as well.

Universality and superiority in preference for chromatic composition of art paintings

Color composition in paintings is a critical factor affecting observers’ aesthetic judgments. We examined observers’ preferences for the color composition of Japanese and Occidental paintings when their color gamut was rotated. In the experiment, observers were asked to select their preferred image from original and three hue-rotated images in a four-alternative forced choice paradigm. Despite observers’ being unfamiliar with the presented artwork, the original paintings (0 degrees) were preferred more frequently than the hue-rotated ones. Furthermore, the original paintings’ superiority was observed when the images were divided into small square pieces and their positions randomized (Scrambled condition), and when the images were composed of square pieces collected from different art paintings and composed as patchwork images (Patchwork condition). Therefore, the original paintings’ superiority regarding preference was quite robust, and the specific objects in the paintings associated with a particular color played only a limited role. Rather, the original paintings’ general trend in color statistics influenced hue-angle preference. Art paintings likely share common statistical regulations in color distributions, which may be the basis for the universality and superiority of the preference for original paintings.

How Neuroimaging Can Aid the Interpretation of Art

Cognitive neuroscience of art continues to be criticized for failing to provide interesting results about art itself. In particular, results of brain imaging experiments have not yet been utilized in interpretation of particular works of art. Here we revisit a recent study in which we explored the neuronal and behavioral response to painted portraits with a direct versus an averted gaze. We then demonstrate how fMRI results can be related to the art historical interpretation of a specific painting. The evidentiary status of neuroimaging data is not different from any other extra-pictorial facts that art historians uncover in their research and relate to their account of the significance of a work of art. They are not explanatory in a strong sense, yet they provide supportive evidence for the art writer’s inference about the intended meaning of a given work. We thus argue that brain imaging can assume an important role in the interpretation of particular art works.

Naturalness and aesthetics of colors - Preference for color compositions perceived as natural

What makes a colored image, e.g. an abstract painting or a landscape, look pleasing? We hypothesized that a preference for complex color compositions, such as paintings and images of natural scenes, might be related to how natural the colors are perceived. We tested this possibility with two experiments in which the degree of naturalness of images was manipulated by rotating their color gamut rigidly in the color space CIELAB. This changed just the hue composition, but preserved saturation and lightness. In the first experiment we obtained individual scaling curves for perceived naturalness and for preference as a function of the angle of gamut rotation for a small set of images. The naturalness and preference scaling curves were found to be largely similar and their maxima were close to the original image. In the second experiment, we tested whether this effect generalized to a larger set of images. We used a simultaneous 5AFC procedure where in each trial participants had to select the most natural or the most preferred image from five different rotations of the color gamut. The results confirmed the first experiment and showed that, in general, the images perceived as the more natural tend to be the ones that are preferred. Together these results show that perceived naturalness and preference are indeed perceptually closely related and may be driven by related mechanisms.

Citation Classics in Consumer Neuroscience, Neuromarketing and Neuroaesthetics: Identification and Conceptual Analysis

Neuromarketing, consumer neuroscience and neuroaesthetics are a broad research area of neuroscience with an extensive background in scientific publications. Thus, the present study aims to identify the highly cited papers (HCPs) in this research field, to deliver a summary of the academic work produced during the last decade in this area, and to show patterns, features, and trends that define the past, present, and future of this specific area of knowledge. The HCPs show a perspective of those documents that, historically, have attracted great interest from a research community and that could be considered as the basis of the research field. In this study, we retrieved 907 documents and analyzed, through H-Classics methodology, 50 HCPs identified in the Web of Science (WoS) during the period 2010-2019. The H-Classic approach offers an objective method to identify core knowledge in neuroscience disciplines such as neuromarketing, consumer neuroscience, and neuroaesthetics. To accomplish this study, we used Bibliometrix R Package and SciMAT software. This analysis provides results that give us a useful insight into the development of this field of research, revealing those scientific actors who have made the greatest contribution to its development: authors, institutions, sources, countries as well as documents and references.

Seeking the "Beauty Center" in the Brain: A Meta-Analysis of fMRI Studies of Beautiful Human Faces and Visual Art

During the past two decades, cognitive neuroscientists have sought to elucidate the common neural basis of the experience of beauty. Still, empirical evidence for such common neural basis of different forms of beauty is not conclusive. To address this question, we performed an activation likelihood estimation (ALE) meta-analysis on the existing neuroimaging studies of beauty appreciation of faces and visual art by nonexpert adults (49 studies, 982 participants, meta-data are available at https://osf.io/s9xds/ ). We observed that perceiving these two forms of beauty activated distinct brain regions: While the beauty of faces convergently activated the left ventral striatum, the beauty of visual art convergently activated the anterior medial prefrontal cortex (aMPFC). However, a conjunction analysis failed to reveal any common brain regions for the beauty of visual art and faces. The implications of these results are discussed.

Neuro-aesthetics and the iconography in photography

Can neurosciences explain art? No, but it can help us to understand why some images are more memorable and, thus, more successful than others. This article aims to identify certain factors that may influence the artistic success of photographic images. These factors are discussed within the contexts of basic neuropsychological concepts, visual perception, and visual memory. A new computational and neuroscientifically based model, the predictive coding theory, provides a powerful framework for integrating social and individual factors that influence aesthetic experience and activity. A case study of Dorothea Lange's iconic photograph Migrant Mother demonstrates the importance of identifiable factors that influence and determine a photograph's potential success. We are convinced that a future systemic approach will enable the complementary integration of neuroscientific, perceptual, cognitive, emotional, and sociopsychological insights through the framework of predictive coding theory with socioscientific, art-theoretical, and art-historical as well as neuro- and behavioral-economical models.

Loss and beauty: how experts and novices judge paintings with lacunae

Lacunae are the voids left by missing or damaged pieces of artwork, and their presence constitutes a central problem in the aesthetic experience of viewing artwork. However, we hypothesize that experience and knowledge of art might differentially modify viewer reactions to degraded artwork. Here, we investigated the implicit and explicit attitudes of art experts and non-experts towards the aesthetics of perfectly intact and lacunar artwork. Sections of Flemish oil paintings were displayed with or without a degradation mask, which mimics lacunae. Three groups differing in their interaction with art were assessed: art restorers, art historians, and art viewers lacking any art-related professional expertise. We found that (1) professional experience/expertise in art restoration affected implicit, but not explicit, attitudes among restorers, (2) art historians had positive explicit, but not implicit, attitudes toward intact artwork, and (3) it was difficult for non-specialist viewers to understand or appreciate artwork that was not perfectly intact. We further discuss the implications of these results to other forms of aesthetic evaluation and expertise. Modified preferences in experts may improve knowledge of the plastic changes that occur in the cognition of aesthetics and may thus be of significant relevance to enhance the effectiveness of art conservation programs.

Art through the Colors of Graffiti: From the Perspective of the Chromatic Structure

Graffiti is a general term that describes inscriptions on a wall, a practice with ancient origins, ranging from simple drawings and writings to elaborate pictorial representations. Nowadays, the term graffiti commonly describes the street art dedicated to wall paintings, which raises complex questions, including sociological, legal, political and aesthetic issues. Here we examine the aesthetics of graffiti colors by quantitatively characterizing and comparing their chromatic structure to that of traditional paintings in museums and natural scenes obtained by hyperspectral imaging. Two hundred twenty-eight photos of graffiti were taken in the city of São Paulo, Brazil. The colors of graffiti were represented in a color space and characterized by several statistical parameters. We found that graffiti have chromatic structures similar to those of traditional paintings, namely their preferred colors, distribution, and balance. In particular, they have color gamuts with the same degree of elongation, revealing a tendency for combining similar colors in the same proportions. Like more traditional artists, the preferred colors are close to the yellow–blue axis of color space, suggesting that graffiti artists’ color choices also mimic those of the natural world. Even so, graffiti tend to have larger color gamuts due to the availability of a new generation of synthetic pigments, resulting in a greater freedom in color choice. A complementary analysis of graffiti from other countries supports the global generalization of these findings. By sharing their color structures with those of paintings, graffiti contribute to bringing art to the cities.

The processing of color preference in the brain

Decades of research has established that humans have preferences for some colors (e.g., blue) and a dislike of others (e.g., dark chartreuse), with preference varying systematically with variation in hue (e.g., Hurlbert and Owen, 2015). Here, we used functional MRI to investigate why humans have likes and dislikes for simple patches of color, and to understand the neural basis of preference, aesthetics and value judgements more generally. We looked for correlations of a behavioural measure of color preference with the blood oxygen level-dependent (BOLD) response when participants performed an irrelevant orientation judgement task on colored squares. A whole brain analysis found a significant correlation between BOLD activity and color preference in the posterior midline cortex (PMC), centred on the precuneus but extending into the adjacent posterior cingulate and cuneus. These results demonstrate that brain activity is modulated by color preference, even when such preferences are irrelevant to the ongoing task the participants are engaged. They also suggest that color preferences automatically influence our processing of the visual world. Interestingly, the effect in the PMC overlaps with regions identified in neuroimaging studies of preference and value judgements of other types of stimuli. Therefore, our findings extends this literature to show that the PMC is related to automatic encoding of subjective value even for basic visual features such as color.

How Is the Neural Response to the Design of Experience Goods Related to Personalized Preference? An Implicit View

Understanding the process by which consumers evaluate the designs of experience goods is critical for firms designing and delivering experience products. As the implicit process involved in this evaluation, and given the possible social desirability bias inherent to traditional methods of product design evaluation in certain conditions, neuroscientific methods are preferred to gain insight into the neural basis of consumers' evaluation of experience good designs. We here used event-related potentials (ERPs) and a revised go/no-go paradigm to investigate consumers' neural responses to experience good designs. Personalized product designs and neutral landscape pictures were randomly presented to 20 student participants; they were asked to view these product designs without making any decisions. The paired t-test and repeated-measures analysis of correlation showed that the P200 and late positive potential (LPP) elicited by the most-preferred experience good designs were significantly higher than that elicited by least-preferred designs, and the two ERP components were positively correlated with the personalized rating scores. Thus, P200 and LPP might be the early and late indices of consumers' evaluation of experience good designs, respectively, and may facilitate an understanding of the temporal course of this evaluation. Furthermore, these two ERP components can be used to identify consumers' preferences toward experience good designs. In addition, given the use of personalized experimental stimuli, these findings may help to explain why customized products are preferred by consumers.

Visual mismatch negativity indicates automatic, task-independent detection of artistic image composition in abstract artworks

In complex abstract art, image composition (i.e., the artist's deliberate arrangement of pictorial elements) is an important aesthetic feature. We investigated whether the human brain detects image composition in abstract artworks automatically (i.e., independently of the experimental task). To this aim, we studied whether a group of 20 original artworks elicited a visual mismatch negativity when contrasted with a group of 20 images that were composed of the same pictorial elements as the originals, but in shuffled arrangements, which destroy artistic composition. We used a passive oddball paradigm with parallel electroencephalogram recordings to investigate the detection of image type-specific properties. We observed significant deviant-standard differences for the shuffled and original images, respectively. Furthermore, for both types of images, differences in amplitudes correlated with the behavioral ratings of the images. In conclusion, we show that the human brain can detect composition-related image properties in visual artworks in an automatic fashion.

Gist Perception of Image Composition in Abstract Artworks

Most recent studies in experimental aesthetics have focused on the cognitive processing of visual artworks. In contrast, the perception of formal compositional features of artworks has been studied less extensively. Here, we investigated whether fast and automatic processing of artistic image composition can lead to a stable and consistent aesthetic evaluation when cognitive processing is minimized or absent. To this aim, we compared aesthetic ratings on abstract artworks and their shuffled counterparts in a gist experiment. Results show that exposure times as short as 50 ms suffice for the participants to reach a stable and consistent rating on how ordered and harmonious the abstract stimuli were. Moreover, the rating scores for the 50 ms exposure time exhibited similar dependencies on image type and self-similarity and a similar pattern of correlations between different rating terms, as the rating scores for the long exposure time (3,000 ms). Ratings were less consistent for the term interesting and inconsistent for the term pleasing. Our results are compatible with a model of aesthetic experience, in which the early perceptual processing of the formal aspects of visual artworks can lead to a consistent aesthetic judgment, even if there is no cognitive contribution to this judgment.

User-Centered Design of Learn to Quit, a Smoking Cessation Smartphone App for People With Serious Mental Illness

Background

Smoking rates in the United States have been reduced in the past decades to 15% of the general population. However, up to 88% of people with psychiatric symptoms still smoke, leading to high rates of disease and mortality. Therefore, there is a great need to develop smoking cessation interventions that have adequate levels of usability and can reach this population.

Objective

The objective of this study was to report the rationale, ideation, design, user research, and final specifications of a novel smoking cessation app for people with serious mental illness (SMI) that will be tested in a feasibility trial.

Methods

We used a variety of user-centered design methods and materials to develop the tailored smoking cessation app. This included expert panel guidance, a set of design principles and theory-based smoking cessation content, development of personas and paper prototyping, usability testing of the app prototype, establishment of app’s core vision and design specification, and collaboration with a software development company.

Results

We developed Learn to Quit, a smoking cessation app designed and tailored to individuals with SMI that incorporates the following: (1) evidence-based smoking cessation content from Acceptance and Commitment Therapy and US Clinical Practice Guidelines for smoking cessation aimed at providing skills for quitting while addressing mental health symptoms, (2) a set of behavioral principles to increase retention and comprehension of smoking cessation content, (3) a gamification component to encourage and sustain app engagement during a 14-day period, (4) an app structure and layout designed to minimize usability errors in people with SMI, and (5) a set of stories and visuals that communicate smoking cessation concepts and skills in simple terms.

Conclusions

Despite its increasing importance, the design and development of mHealth technology is typically underreported, hampering scientific innovation. This report describes the systematic development of the first smoking cessation app tailored to people with SMI, a population with very high rates of nicotine addiction, and offers new design strategies to engage this population. mHealth developers in smoking cessation and related fields could benefit from a design strategy that capitalizes on the role visual engagement, storytelling, and the systematic application of behavior analytic principles to deliver evidence-based content.

Beauty Requires Thought

The experience of beauty is a pleasure, but common sense and philosophy suggest that feeling beauty differs from sensuous pleasures such as eating or sex. Immanuel Kant [1, 2] claimed that experiencing beauty requires thought but that sensuous pleasure can be enjoyed without thought and cannot be beautiful. These venerable hypotheses persist in models of aesthetic processing [3-7] but have never been tested. Here, participants continuously rated the pleasure felt from a nominally beautiful or non-beautiful stimulus and then judged whether they had experienced beauty. The stimuli, which engage various senses, included seeing images, tasting candy, and touching a teddy bear. The observer reported the feelings that the stimulus evoked. The time course of pleasure, across stimuli, is well-fit by a model with one free parameter: pleasure amplitude. Pleasure amplitude increases linearly with the feeling of beauty. To test Kant's claim of a need for thought, we reduce cognitive capacity by adding a "two-back" task to distract the observer's thoughts. The distraction greatly reduces the beauty and pleasure experienced from stimuli that otherwise produce strong pleasure and spares that of less-pleasant stimuli. We also find that strong pleasure is always beautiful, whether produced reliably by beautiful stimuli or just occasionally by sensuous stimuli. In sum, we confirm Kant's claim that only the pleasure associated with feeling beauty requires thought and disprove his claim that sensuous pleasures cannot be beautiful.

The colors of paintings and viewers' preferences

One hypothesis to explain the aesthetics of paintings is that it depends on the extent to which they mimic natural image statistics. In fact, paintings and natural scenes share several statistical image regularities but the colors of paintings seem generally more biased towards red than natural scenes. Is the particular option for colors in each painting, even if less naturalistic, critical for perceived beauty? Here we show that it is. In the experiments, 50 naïve observers, unfamiliar with the 10 paintings tested, could rotate the color gamut of the paintings and select the one producing the best subjective impression. The distributions of angles obtained are described by normal distributions with maxima deviating, on average, only 7 degrees from the original gamut orientation and full width at half maximum just above the threshold to perceive a chromatic change in the paintings. Crucially, for data pooled across observers and abstract paintings the maximum of the distribution was at zero degrees, i.e., the same as the original. This demonstrates that artists know what chromatic compositions match viewers' preferences and that the option for less naturalistic colors does not constrain the aesthetic value of paintings.

Individual Aesthetic Preferences for Faces Are Shaped Mostly by Environments, Not Genes

Although certain characteristics of human faces are broadly considered more attractive (e.g., symmetry, averageness), people also routinely disagree with each other on the relative attractiveness of faces. That is, to some significant degree, beauty is in the "eye of the beholder." Here, we investigate the origins of these individual differences in face preferences using a twin design, allowing us to estimate the relative contributions of genetic and environmental variation to individual face attractiveness judgments or face preferences. We first show that individual face preferences (IP) can be reliably measured and are readily dissociable from other types of attractiveness judgments (e.g., judgments of scenes, objects). Next, we show that individual face preferences result primarily from environments that are unique to each individual. This is in striking contrast to individual differences in face identity recognition, which result primarily from variations in genes [1]. We thus complete an etiological double dissociation between two core domains of social perception (judgments of identity versus attractiveness) within the same visual stimulus (the face). At the same time, we provide an example, rare in behavioral genetics, of a reliably and objectively measured behavioral characteristic where variations are shaped mostly by the environment. The large impact of experience on individual face preferences provides a novel window into the evolution and architecture of the social brain, while lending new empirical support to the long-standing claim that environments shape individual notions of what is attractive.

Common and unique representations in pFC for face and place attractiveness

Although previous neuroimaging research has identified overlapping correlates of subjective value across different reward types in the ventromedial pFC (vmPFC), it is not clear whether this "common currency" evaluative signal extends to the aesthetic domain. To examine this issue, we scanned human participants with fMRI while they made attractiveness judgments of faces and places-two stimulus categories that are associated with different underlying rewards, have very different visual properties, and are rarely compared with each other. We found overlapping signals for face and place attractiveness in the vmPFC, consistent with the idea that this region codes a signal for value that applies across disparate reward types and across both economic and aesthetic judgments. However, we also identified a subregion of vmPFC within which activity patterns for face and place attractiveness were distinguishable, suggesting that some category-specific attractiveness information is retained in this region. Finally, we observed two separate functional regions in lateral OFC: one region that exhibited a category-unique response to face attractiveness and another region that responded strongly to faces but was insensitive to their value. Our results suggest that vmPFC supports a common mechanism for reward evaluation while also retaining a degree of category-specific information, whereas lateral OFC may be involved in basic reward processing that is specific to only some stimulus categories.