Aesthetic preference is related to organized complexity

Modeling the Visual Landscape: A Review on Approaches, Methods and Techniques

Modeling the perception and evaluation of landscapes from the human perspective is a desirable goal for several scientific domains and applications. Human vision is the dominant sense, and human eyes are the sensors for apperceiving the environmental stimuli of our surroundings. Therefore, exploring the experimental recording and measurement of the visual landscape can reveal crucial aspects about human visual perception responses while viewing the natural or man-made landscapes. Landscape evaluation (or assessment) is another dimension that refers mainly to preferences of the visual landscape, involving human cognition as well, in ways that are often unpredictable. Yet, landscape can be approached by both egocentric (i.e., human view) and exocentric (i.e., bird's eye view) perspectives. The overarching approach of this review article lies in systematically presenting the different ways for modeling and quantifying the two 'modalities' of human perception and evaluation, under the two geometric perspectives, suggesting integrative approaches on these two 'diverging' dualities. To this end, several pertinent traditions/approaches, sensor-based experimental methods and techniques (e.g., eye tracking, fMRI, and EEG), and metrics are adduced and described. Essentially, this review article acts as a 'guide-map' for the delineation of the different activities related to landscape experience and/or management and to the valid or potentially suitable types of stimuli, sensors techniques, and metrics for each activity. Throughout our work, two main research directions are identified: (1) one that attempts to transfer the visual landscape experience/management from the one perspective to the other (and vice versa); (2) another one that aims to anticipate the visual perception of different landscapes and establish connections between perceptual processes and landscape preferences. As it appears, the research in the field is rapidly growing. In our opinion, it can be greatly advanced and enriched using integrative, interdisciplinary approaches in order to better understand the concepts and the mechanisms by which the visual landscape, as a complex set of stimuli, influences visual perception, potentially leading to more elaborate outcomes such as the anticipation of landscape preferences. As an effect, such approaches can support a rigorous, evidence-based, and socially just framework towards landscape management, protection, and decision making, based on a wide spectrum of well-suited and advanced sensor-based technologies.

Potential of eye-tracking simulation software for analyzing landscape preferences

Profound knowledge about landscape preferences is of high importance to support decision-making, in particular, in the context of emerging socio-economic developments to foster a sustainable spatial development and the maintenance of attractive landscapes. Eye-tracking experiments are increasingly used to examine how respondents observe landscapes, but such studies are very time-consuming and costly. For the first time, this study explored the potential of using eye-tracking simulation software in a mountain landscape by (1) identifying the type of information that can be obtained through eye-tracking simulation and (2) examining how this information contributes to the explanation of landscape preferences. Based on 78 panoramic landscape photographs, representing major landscape types of the Central European Alps, this study collected 19 indicators describing the characteristics of the hotspots that were identified by the Visual Attention Software by 3M (3M-VAS). Indicators included quantitative and spatial information (e.g., number of hotspots, probabilities of initially viewing the hotspots) as well variables indicating natural and artificial features within the hotspots (e.g., clouds, lighting conditions, natural and anthropogenic features). In addition, we estimated 18 variables describing the photo content and calculated 12 landscape metrics to quantify spatial patterns. Our results indicate that on average 3.3 hotspots were identified per photograph, mostly containing single trees and tree trunks, buildings and horizon transitions. Using backward stepwise linear regression models, the hotspot indicators increased the model explanatory power by 24%. Thus, our findings indicate that the analysis of eye-tracking hotspots can support the identification of important elements and areas of a landscape, but it is limited in explaining preferences across different landscape types. Future research should therefore focus on specific landscape characteristics such as complexity, structure or visual appearance of specific elements to increase the depth of information obtained from eye-tracking simulation software.

The neuroaesthetics of architectural spaces

People in developed countries spend over 90% of their time in built environments. Yet, we know little about its pervasive and often hidden effects on our mental state and our brain. Despite growing interest in the neuroscience of architecture, much of this scholarship has been descriptive. The typical approach is to map knowledge of the brain onto constructs important to architecture. For a programmatic line of research, how might descriptive neuroarchitecture be transformed into an experimental science? We review the literature outlining how one might consider experimental architecture first by examining the role of natural features in architectural settings. We then turn to the human experience of occupants, and hypothesized that aesthetic responses to architectural interiors reduce to key psychological dimensions. Conducting Psychometric Network Analysis (PNA) and Principal Components Analysis (PCA) on responses to curated images, we identified three components: coherence (ease of organizing and comprehending a scene), fascination (informational richness and generated interest), and hominess (personal ease and comfort). Coherence and fascination are well-established dimensions for natural scenes. Hominess was a new dimension related to architectural interiors. Central to all three communities in the PNA was emotional valence. We also reanalyzed data from an earlier fMRI study in which participants made beauty and approach-avoidance decisions while viewing the same images. Regardless of task, the degree of fascination covaried with neural activity in the right lingual gyrus. In contrast, coherence covaried with neural activity in the left inferior occipital gyrus only when participants judged beauty, and hominess covaried with neural activity in the left cuneus only when they made approach-avoidance decisions. The visual brain harbours hidden sensitivities to architectural interiors that are captured by the dimensions of coherence, fascination, and hominess. These findings represent first steps towards an experimental neuroarchitecture.

Does greenery experienced indoors and outdoors provide an escape and support mental health during the COVID-19 quarantine?

BACKGROUND

The COVID-19 pandemic has profoundly changed people's ability to recreate in public green spaces, which is likely to exacerbate the psychological impacts of the pandemic. In the current study, we seek to understand whether greenery can support mental health even with insufficient outdoor exposure in times of physical isolation from the outdoor environment.

METHODS

Between 17 May and 10 June, 2020, we conducted an online survey among 323 students (21.99 ± 3.10 years; 31% male) in health-related programs from two universities in the city of Plovdiv, Bulgaria. Severities of depressive and anxiety symptoms over the past two weeks were measured with the Patient Health Questionnaire 9-item and the Generalized Anxiety Disorder 7-item scale. We employed two self-reported measures of greenery experienced indoors (number of houseplants in the home and proportion of exterior greenery visible from inside the home) and two measures of greenery experienced outdoors (presence/absence of a domestic garden and availability of neighborhood greenery). Restorative quality of the home (the "being away" dimension of the Perceived Restorativeness Scale; PRS) and the neighborhood (the "being away" and "fascination" dimensions of the PRS), engagement with outdoor greenery (frequency of different types of interaction) and perceived social support were treated as mediators. Associations between greenery and mental health were tested using generalized linear regression and logistic regression. Structural equation modelling (SEM) techniques were used to test the theoretically-indicated relations among the variables.

RESULTS

Clinically-meaningful symptoms of moderate depression and anxiety were reported by approximately 33% and 20% of the students, respectively. The relative abundance of greenery visible from the home or in the neighborhood was associated with reduced depressive/anxiety symptoms and lower depression/anxiety rates. Having more houseplants or a garden was also associated with some of these markers of mental health. As hypothesized, the mental health-supportive effects of indoor greenery were largely explained by increased feelings of being away while at home. Neighborhood greenery contributed to neighborhood restorative quality, which in turn facilitated social support and more frequent engagement with greenery, and that led to better mental health.

CONCLUSIONS

Students who spent most of their time at home during the COVID-19 epidemic experienced better mental health when exposed to more greenery. Our findings support the idea that exposure to greenery may be a valuable resource during social isolation in the home. However, causal interpretation of these associations is not straightforward.

“A Gem among the Rocks”—Identifying and Measuring Visual Preferences for Mountain Lakes

The high visual quality of lakes bolsters aesthetic and recreational experiences, but little is known about the specific visual preferences related to mountain lakes. This study therefore aimed at assessing people’s preferences on visual characteristics of mountain lakes using an online questionnaire. Adopting a qualitative approach, we first identified major recognised characteristics of mountain lakes, i.e., respondents indicated that mountain lakes are typically small-sized lakes with clear, cold and blue water and are embedded in a natural mountain landscape. Then, we used different picture sets related to water clarity, water colour, presence of algae, lake shore and surrounding land cover to quantify preferences. Our results indicated a clear preference for blue, clear water and the absence of algae as well as large rocks at the lake shore and forest around the lake. In particular, preferences related to visual water characteristics were highly homogeneous across socio-cultural groups and confirmed previous findings. To illustrate the applicability of our findings, we integrated our results with spatial and limnological data to quantify aesthetic values for four selected study lakes in the European Alps. Finally, we discuss our findings in the context of increasing demand for nature-based experiences and the implications for decision-making.

Preference for Complexity and Asymmetry Contributes to an Ability to Overcome Structured Imagination: Implications for Creative Perception Paradigm

The study is a part of a research project, which explores the role of creative perception in creative behavior. We operationalized creative behavior as an ability to overcome structured imagination, as measured by the Invented Alien Creature test, and operationalized creative perception as a preference for complexity and asymmetry, which we assessed using a standard Barron–Welsh Art Scale. Our group of participants was composed of ninety-three undergraduate students from the United Arab Emirates. The degree to which one preferred complexity and asymmetry measurably contributed to their ability to overcome structured imagination. This finding adds another brick to the rising seventh pillar of the creativity construct, namely, creative perception. The article provides a first sketch of the creative perception paradigm.