Intense Beauty Requires Intense Pleasure

Integrative processing in artificial and biological vision predicts the perceived beauty of natural images

Previous research shows that the beauty of natural images is already determined during perceptual analysis. However, it is unclear which perceptual computations give rise to the perception of beauty. Here, we tested whether perceived beauty is predicted by spatial integration across an image, a perceptual computation that reduces processing demands by aggregating image parts into more efficient representations of the whole. We quantified integrative processing in an artificial deep neural network model, where the degree of integration was determined by the amount of deviation between activations for the whole image and its constituent parts. This quantification of integration predicted beauty ratings for natural images across four studies with different stimuli and designs. In a complementary functional magnetic resonance imaging study, we show that integrative processing in human visual cortex similarly predicts perceived beauty. Together, our results establish integration as a computational principle that facilitates perceptual analysis and thereby mediates the perception of beauty.

Perceptual representations mediate effects of stimulus properties on liking for music

Perceptual pleasure and its concomitant hedonic value play an essential role in everyday life, motivating behavior and thus influencing how individuals choose to spend their time and resources. However, how pleasure arises from perception of sensory information remains relatively poorly understood. In particular, research has neglected the question of how perceptual representations mediate the relationships between stimulus properties and liking (e.g., stimulus symmetry can only affect liking if it is perceived). The present research addresses this gap for the first time, analyzing perceptual and liking ratings of 96 nonmusicians (power of 0.99) and finding that perceptual representations mediate effects of feature-based and information-based stimulus properties on liking for a novel set of melodies varying in balance, contour, symmetry, or complexity. Moreover, variability due to individual differences and stimuli accounts for most of the variance in liking. These results have broad implications for psychological research on sensory valuation, advocating a more explicit account of random variability and the mediating role of perceptual representations of stimulus properties.

K-Plus anticlustering: An improved k-means criterion for maximizing between-group similarity

Anticlustering refers to the process of partitioning elements into disjoint groups with the goal of obtaining high between-group similarity and high within-group heterogeneity. Anticlustering thereby reverses the logic of its better known twin-cluster analysis-and is usually approached by maximizing instead of minimizing a clustering objective function. This paper presents k-plus, an extension of the classical k-means objective of maximizing between-group similarity in anticlustering applications. K-plus represents between-group similarity as discrepancy in distribution moments (means, variance, and higher-order moments), whereas the k-means criterion only reflects group differences with regard to means. While constituting a new criterion for anticlustering, it is shown that k-plus anticlustering can be implemented by optimizing the original k-means criterion after the input data have been augmented with additional variables. A computer simulation and practical examples show that k-plus anticlustering achieves high between-group similarity with regard to multiple objectives. In particular, optimizing between-group similarity with regard to variances usually does not compromise similarity with regard to means; the k-plus extension is therefore generally preferred over classical k-means anticlustering. Examples are given on how k-plus anticlustering can be applied to real norming data using the open source R package anticlust, which is freely available via CRAN.

Modelling individual aesthetic judgements over time

Listening to music, watching a sunset-many sensory experiences are valuable to us, to a degree that differs significantly between individuals, and within an individual over time. We have theorized (Brielmann & Dayan 2022 Psychol. Rev. 129, 1319-1337 (doi:10.1037/rev0000337))) that these idiosyncratic values derive from the task of using experiences to tune the sensory-cognitive system to current and likely future input. We tested the theory using participants' (n = 59) ratings of a set of dog images (n = 55) created using the NeuralCrossbreed morphing algorithm. A full realization of our model that uses feature representations extracted from image-recognizing deep neural nets (e.g. VGG-16) is able to capture liking judgements on a trial-by-trial basis (median r = 0.65), outperforming predictions based on population averages (median r = 0.01). Furthermore, the model's learning component allows it to explain image sequence dependent rating changes, capturing on average 17% more variance in the ratings for the true trial order than for simulated random trial orders. This validation of our theory is the first step towards a comprehensive treatment of individual differences in evaluation. This article is part of the theme issue 'Art, aesthetics and predictive processing: theoretical and empirical perspectives'.

Emotions of subject and object affect beauty differently for images and music

What role do the emotions of subject and object play in judging the beauty of images and music? Eighty-one participants rated perceived beauty, liking, perceived happiness, and perceived sadness of 24 songs, 12 art images, and 12 nature photographs. Stimulus presentation was brief (2 seconds) or prolonged (20 seconds). The stimuli were presented in two blocks, and participants took the Positive and Negative Affect Score (PANAS) mood questionnaire before and after each block. They viewed a mood induction video between blocks either to increase their happiness or sadness or to maintain their mood. Using linear mixed-effects models, we found that perceived object happiness predicts an increase in image and song beauty regardless of duration. The effect of perceived object sadness on beauty, however, is stronger for songs than images and stronger for prolonged than brief durations. Subject emotion affects brief song beauty minimally and prolonged song beauty substantially. Whereas past studies of beauty and emotion emphasized sad music, here we analyze both happiness and sadness, both subject and object emotion, and both images and music. We conclude that the interactions between emotion and beauty are different for images and music and are strongly moderated by duration.

Sensitivity to intrinsic rewards is domain general and related to mental health

Humans frequently engage in intrinsically rewarding activities (for example, consuming art, reading). Despite such activities seeming diverse, we show that sensitivity to intrinsic rewards is domain general and associated with mental health. In this cross-sectional study, participants online (N = 483) were presented with putative visual, cognitive and social intrinsic rewards as well as monetary rewards and neutral stimuli. All rewards elicited positive feelings (were 'liked'), generated consummatory behaviour (were 'wanted') and increased the likelihood of the action leading to them (were 'reinforcing'). Factor analysis revealed that ~40% of response variance across stimuli was explained by a general sensitivity to all rewards, but not to neutral stimuli. Affective aspects of mental health were associated with sensitivity to intrinsic, but not monetary, rewards. These results may help explain thriving and suffering: individuals with high reward sensitivity will engage in a variety of intrinsically rewarding activities, eventually finding those they excel at, whereas low sensitivity individuals will not.

Aesthetic experience models human learning

Aesthetic experiences have the potential to promote learning and creativity by enhancing the ability to understand complexity and to integrate novel or disparate information. Offering a theoretical framework for understanding the cognitive benefits of aesthetic experiences, this paper argues they are the necessary outcome of human learning, in which natural objects or artworks are evaluated in a multi-dimensional preference space shaped by Bayesian prediction. In addition, it contends that the brain-states underlying aesthetic experiences harness configurations of the apex three transmodal neural systems-the default mode network, the central executive network, and the salience network-that may offer information-processing advantages by recruiting the brain's high-power communication hubs, thus enhancing potential for learning gain.

The intrinsic variance of beauty judgment

Recall memory and sequential dependence threaten the independence of successive beauty ratings. Such independence is usually assumed when using repeated measures to estimate the intrinsic variance of a rating. We call "intrinsic" the variance of all possible responses that the participant could give on a trial. Variance arises within and across participants. In attributing the measured variance to sources, the first step is to assess how much is intrinsic. In seven experiments, we measure how much of the variability across beauty ratings can be attributed to recall memory and sequential dependence. With a set size of one, memory is a problem and contributes half the measured variance. However, we showed that for both beauty and ellipticity, with set size of nine or more, recall memory causes a mere 10% increase in the variance of repeated ratings. Moreover, we showed that as long as the stimuli are diverse (i.e., represent different object categories), sequential dependence does not affect the variance of beauty ratings. Lastly, the variance of beauty ratings increases in proportion to the 0.15 power of stimulus set size. We show that the beauty rating of a stimulus in a diverse set is affected by the stimulus set size and not the value of other stimuli. Overall, we conclude that the variance of repeated ratings is a good way to estimate the intrinsic variance of a beauty rating of a stimulus in a diverse set.

Characterising and dissecting human perception of scene complexity

Humans can effortlessly assess the complexity of the visual stimuli they encounter. However, our understanding of how we do this, and the relevant factors that result in our perception of scene complexity remain unclear; especially for the natural scenes in which we are constantly immersed. We introduce several new datasets to further understanding of human perception of scene complexity. Our first dataset (VISC-C) contains 800 scenes and 800 corresponding two-dimensional complexity annotations gathered from human observers, allowing exploration for how complexity perception varies across a scene. Our second dataset, (VISC-CI) consists of inverted scenes (reflection on the horizontal axis) with corresponding complexity maps, collected from human observers. Inverting images in this fashion is associated with destruction of semantic scene characteristics when viewed by humans, and hence allows analysis of the impact of semantics on perceptual complexity. We analysed perceptual complexity from both a single-score and a two-dimensional perspective, by evaluating a set of calculable and observable perceptual features based upon grounded psychological research (clutter, symmetry, entropy and openness). We considered these factors' relationship to complexity via hierarchical regressions analyses, tested the efficacy of various neural models against our datasets, and validated our perceptual features against a large and varied complexity dataset consisting of nearly 5000 images. Our results indicate that both global image properties and semantic features are important for complexity perception. We further verified this by combining identified perceptual features with the output of a neural network predictor capable of extracting semantics, and found that we could increase the amount of explained human variance in complexity beyond that of low-level measures alone. Finally, we dissect our best performing prediction network, determining that artificial neurons learn to extract both global image properties and semantic details from scenes for complexity prediction. Based on our experimental results, we propose the "dual information" framework of complexity perception, hypothesising that humans rely on both low-level image features and high-level semantic content to evaluate the complexity of images.

What Happens in Your Brain When You Walk Down the Street? Implications of Architectural Proportions, Biophilia, and Fractal Geometry for Urban Science

This article reviews current research in visual urban perception. The temporal sequence of the first few milliseconds of visual stimulus processing sheds light on the historically ambiguous topic of aesthetic experience. Automatic fractal processing triggers initial attraction/avoidance evaluations of an environment’s salubriousness, and its potentially positive or negative impacts upon an individual. As repeated cycles of visual perception occur, the attractiveness of urban form affects the user experience much more than had been previously suspected. These perceptual mechanisms promote walkability and intuitive navigation, and so they support the urban and civic interactions for which we establish communities and cities in the first place. Therefore, the use of multiple fractals needs to reintegrate with biophilic and traditional architecture in urban design for their proven positive effects on health and well-being. Such benefits include striking reductions in observers’ stress and mental fatigue. Due to their costs to individual well-being, urban performance, environmental quality, and climatic adaptation, this paper recommends that nontraditional styles should be hereafter applied judiciously to the built environment.

On the Neuronal Dynamics of Aesthetic Experience: Evidence from Electroencephalographic Oscillatory Dynamics

Aesthetic experiences have an influence on many aspects of life. Interest in the neural basis of aesthetic experiences has grown rapidly in the past decade, and fMRI studies have identified several brain systems supporting aesthetic experiences. Work on the rapid neuronal dynamics of aesthetic experience, however, is relatively scarce. This study adds to this field by investigating the experience of being aesthetically moved by means of ERP and time-frequency analysis. Participants' electroencephalography (EEG) was recorded while they viewed a diverse set of artworks and evaluated the extent to which these artworks moved them. Results show that being aesthetically moved is associated with a sustained increase in gamma activity over centroparietal regions. In addition, alpha power over right frontocentral regions was reduced in high- and low-moving images, compared to artworks given intermediate ratings. We interpret the gamma effect as an indication for sustained savoring processes for aesthetically moving artworks compared to aesthetically less-moving artworks. The alpha effect is interpreted as an indication of increased attention for aesthetically salient images. In contrast to previous works, we observed no significant effects in any of the established ERP components, but we did observe effects at latencies longer than 1 sec. We conclude that EEG time-frequency analysis provides useful information on the neuronal dynamics of aesthetic experience.

Does self-reported chronic pain influence savoring of aesthetic experiences?

BACKGROUND

Aesthetic experiences elicit a wide range of positive emotions and have a positive impact on various health outcomes. In this context, savoring refers to a cognitive form of emotion regulation used to maintain and extend positive emotional experiences and is considered to contribute to health and well-being. Chronic pain has been linked to reduced reward-seeking behavior. This is the first study to investigate the relationship between self-reported chronic pain and savoring.

METHODS

We conducted an anonymous cross-sectional survey in a large non-clinical sample (opera, theater, and cabaret visitors; n = 322). The variables were assessed with a two-item-questionnaire.

RESULTS

Self-reported chronic pain was significantly negatively correlated with savoring (r = -.547).

CONCLUSION

Altogether, this result helps to develop a better understanding of the effects of chronic pain in humans and to shed light on state-dependent differences in aesthetic experiences.

Outcome Measurement of Beauty and Attractiveness of Facial Aesthetic Rejuvenation Surgery

ABSTRACT

Aesthetic plastic surgery is a most unusual and unique subspecialty. Unlike other medical and surgical specialties driven primarily by objective medical diagnosis and outcome, aesthetic surgery is patient driven; it represents a special exercise in professional competence by adapting objective medical standards to a mostly subjective field. Given the subjectivity of facial beauty and of the projected aesthetic intervention outcome, in addition to be able to determine beauty of the final result as precisely and objectively as possible, it is also essential to be able to assess patient's satisfaction. However, lack of standardized facial measurements and clear definition of aesthetic outcome and beauty are still major obstacles preventing real change in the consultation dynamics to help better serve patients' expectations. Because of the tremendous increase in demand for all types of facial aesthetic procedures, an objective understanding of aesthetics and beauty is becoming of utmost importance. Recognition of the importance of science and evidence-based medicine is long overdue in our specialty. This study aims at identifying the most recently available evidence-based measures to quantitatively assess beauty and measure outcome of rhytidoplasty that can be useful in everyday aesthetic practice.

Beauty, the feeling

Many philosophers and psychologists have made claims about what is felt in an experience of beauty. Here, we test how well these claims match the feelings that people report while looking at an image, or listening to music, or recalling a personal experience of beauty. We conducted ten experiments (total n = 851) spanning three nations (US, UK, and India). Across nations and modalities, top-rated beauty experiences are strongly characterized by six dimensions: intense pleasure, an impression of universality, the wish to continue the experience, exceeding expectation, perceived harmony in variety, and meaningfulness. Other frequently proposed beauty characteristics - like surprise, desire to understand, and mind wandering - are uncorrelated with feeling beauty. A typical remembered beautiful experience was active and social like a family holiday - hardly ever mentioning beauty - and only rarely mentioned art, unlike the academic emphasis, in aesthetics, on solitary viewing of art. Our survey aligns well with Kant and the psychological theories that emphasize pleasure, and reject theories that emphasize information seeking.

Plasma acetylcholine and nicotinic acid are correlated with focused preference for photographed females in depressed males: an economic game study

Interpersonal difficulties are often observed in major depressive disorder (MDD), while the underlying psychological and biological mechanisms have not yet been elucidated. In the present case–control study, a PC-based trust game was conducted for 38 drug-free MDD patients and 38 healthy controls (HC). In the trust game, participants invested money in a partner (trusting behaviors), and also rated each partner’s attractiveness (preference for others). In addition, blood biomarkers including metabolites were measured. Both MDD and HC males exhibited more trusting behaviors compared to females. MDD males’ preference for ordinary-attractive partners (lay-person photographs) was lower than HC males, whereas their preference for high-attractive females (fashion-model photographs) was similar levels to HC males. This tendency in MDD males could reflect a “focused (narrowed) preference for females”. As for blood biomarker analysis, the levels of 37 metabolites including acetylcholine, AMP, GMP, nicotinic acid and tryptophan were significantly different between two groups. Interestingly, among male participants, acetylcholine and nicotinic acid were negatively correlated with the level of focused preference for photographed females. In sum, we have revealed some behavioral, psychological and biological traits of trusting behaviors and preference for others especially in MDD males. Larger studies should be conducted to validate our preliminary findings.

art.pics Database: An Open Access Database for Art Stimuli for Experimental Research

While art is omnipresent in human history, the neural mechanisms of how we perceive, value and differentiate art has only begun to be explored. Functional magnetic resonance imaging (fMRI) studies suggested that art acts as secondary reward, involving brain activity in the ventral striatum and prefrontal cortices similar to primary rewards such as food. However, potential similarities or unique characteristics of art-related neuroscience (or neuroesthetics) remain elusive, also because of a lack of adequate experimental tools: the available collections of art stimuli often lack standard image definitions and normative ratings. Therefore, we here provide a large set of well-characterized, novel art images for use as visual stimuli in psychological and neuroimaging research. The stimuli were created using a deep learning algorithm that applied different styles of popular paintings (based on artists such as Klimt or Hundertwasser) on ordinary animal, plant and object images which were drawn from established visual stimuli databases. The novel stimuli represent mundane items with artistic properties with proposed reduced dimensionality and complexity compared to paintings. In total, 2,332 novel stimuli are available open access as “art.pics” database at https://osf.io/BTWNQ/ with standard image characteristics that are comparable to other common visual stimuli material in terms of size, variable color distribution, complexity, intensity and valence, measured by image software analysis and by ratings derived from a human experimental validation study [n = 1,296 (684f), age 30.2 ± 8.8 y.o.]. The experimental validation study further showed that the art.pics elicit a broad and significantly different variation in subjective value ratings (i.e., liking and wanting) as well as in recognizability, arousal and valence across different art styles and categories. Researchers are encouraged to study the perception, processing and valuation of art images based on the art.pics database which also enables real reward remuneration of the rated stimuli (as art prints) and a direct comparison to other rewards from e.g., food or money.

Key Messages: We provide an open access, validated and large set of novel stimuli (n = 2,332) of standardized art images including normative rating data to be used for experimental research. Reward remuneration in experimental settings can be easily implemented for the art.pics by e.g., handing out the stimuli to the participants (as print on premium paper or in a digital format), as done in the presented validation task. Experimental validation showed that the art.pics’ images elicit a broad and significantly different variation in subjective value ratings (i.e., liking, wanting) across different art styles and categories, while size, color and complexity characteristics remained comparable to other visual stimuli databases.

The pleasure of multiple images

How many pleasures can you track? In a previous study, we showed that people can simultaneously track the pleasure they experience from two images. Here, we push further, probing the individual and combined pleasures felt from seeing four images in one glimpse. Participants (N = 25) viewed 36 images spanning the entire range of pleasure. Each trial presented an array of four images, one in each quadrant of the screen, for 200 ms. On 80% of the trials, a central line cue pointed, randomly, at some screen corner either before (precue) or after (postcue) the images were shown. The cue indicated which image (the target) to rate while ignoring the others (distractors). On the other 20% of trials, an X cue requested a rating of the combined pleasure of all four images. Later, for baseline reference, we obtained a single-pleasure rating for each image shown alone. When precued, participants faithfully reported the pleasure of the target. When postcued, however, the mean ratings of images that are intensely pleasurable when seen alone (pleasure >4.5 on a 1-9 scale) dropped below baseline. Regardless of cue timing, the rating of the combined pleasure of four images was a linear transform of the average baseline pleasures of all four images. Thus, while people can faithfully track two pleasures, they cannot track four. Instead, the pleasure of otherwise above-medium-pleasure images is diminished, mimicking the effect of a distracting task.

"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.

Tracking two pleasures

Can people track several pleasures? In everyday life, pleasing stimuli rarely appear in isolation. Yet, experiments on aesthetic pleasure usually present only one image at a time. Here, we ask whether people can reliably report the pleasure of either of two images seen in a single glimpse. Participants (N = 13 in the original; +25 in the preregistered replication) viewed 36 Open Affective Standardized Image Set (OASIS) images that span the entire range of pleasure and beauty. On each trial, the observer saw two images, side by side, for 200 ms. An arrow cue pointed, randomly, left, right, or bidirectionally. Left or right indicated which image (the target) to rate while ignoring the other (the distractor); bidirectional requested rating the combined pleasure of both images. In half the blocks, the cue came before the images (precuing). Otherwise, it came after (postcuing). Precuing allowed the observer to ignore the distractor, while postcuing demanded tracking both images. Finally, we obtained single-pleasure ratings for each image shown alone. Our replication confirms the original study. People have unbiased access to their felt pleasure from each image and the average of both. Furthermore, the variance of the observer’s report is similar whether reporting the pleasure of one image or the average pleasure of two. The undiminished variance for reports of the average pleasure of two images indicates either that the underlying pleasure variances are highly correlated, or, more likely, that the variance arises in the common reporting process. In brief, observers can faithfully track at least two visual pleasures.