Project description:Architects should consider the aesthetic experience of potential users when designing architectures. Previous studies have shown that subjective aesthetic judgment of architectures is influenced by structure features, and Western observers prefer structures that have curvilinear contours, high ceilings, and open space. The building styles, however, vary across cultures, and it remains unclear whether the preference for contours, ceiling height, and openness exist across cultures. To investigate this issue, this study analyzes the aesthetic judgment of Chinese observers, and the results demonstrate that Chinese observers also prefer high ceilings and open space. Preference for curvilinear contours, however, interacts with ceiling height and openness. Simple effect analysis reveals that Chinese observers prefer curvilinear contours only when the ceiling is low and the space is closed. In sum, these results suggest that preference for high ceilings and open space is robust for Chinese observers, but the preference for curvilinear contours is less reliable.
Project description:We recorded brain activity when 21 subjects judged the beauty (aesthetic or affective judgment) and brightness (perceptual or cognitive judgment) of simultaneously presented paintings. Aesthetic judgments engaged medial and lateral subdivisions of the orbitofrontal cortex as well as subcortical stations associated with affective motor planning (globus pallidus, putamen-claustrum, amygdala, and cerebellar vermis), whereas the motor, premotor and supplementary motor areas, as well as the anterior insula and the dorsolateral prefrontal cortex, were engaged by both kinds of judgment. The results lead us to conclude: (i) that there is a functional specialization for judgment, with aesthetic judgments engaging distinct systems, in addition to those that they share with perceptual judgments; (ii) that the systems engaged by affective judgments are those in which activity correlates with polar experiences (e.g. love-hate, beauty-ugliness, and attraction-repulsion); and (iii) that there is also a functional specialization in the motor pathways, with aesthetic judgments engaging motor systems not engaged by perceptual judgments, in addition to those engaged by both kinds of judgment.
Project description:Nowadays there are multiple ways to perceive music, from attending concerts (live) to listening to recorded music through headphones (medial). In between there are many mixed modes, such as playback performances. In empirical music research, this plurality of performance forms has so far found little recognition. Until now no measuring instrument has existed that could adequately capture the differences in perception and aesthetic judgment. The purpose of our empirical investigation was to capture all dimensions relevant to such an assessment. Using 3D-simulations and dynamic binaural synthesis, various live and medial situations were simulated. A qualitative survey was conducted at the Department of Audio Communication of the Technical University of Berlin (TU Berlin). With the help of the repertory grid technique, a data pool of approximately 400 attribute pairs was created and individual rating data were collected. Our first study served to create a semantic differential. In a second study, this semantic differential was evaluated. The development of the semantic differential was carried out by first using a mixed-method approach to qualitative analysis according to grounded theory. Thereafter, a principal component analysis reduced the attribute pairs to 67 items in four components. The semantic differential consists of items concerning acoustic, visual and audio-visual interaction as well as items with an overarching assessment of the stimuli. The evaluation study, comprising 45 participants (23 male and 22 female, M = 42.56 years, SD = 17.16) who rated 12 stimuli each, reduced the items to 61 and resulted in 18 subscales and nine single items. Because the survey used simulations, the social component may be underrepresented. Nevertheless, the questionnaire we created enables the evaluation of music performances (especially for classical concerts) in a new scope, thus opening many opportunities for further research. For example, in a live concert context, we observed not only that seating position influences the judgment of sound quality but also that visual elements influence immersion and felt affect. In the future, the differential could be reviewed for a larger stimulus pool, extended or used modularly for different research questions.
Project description:Understanding the factors influencing the aesthetic experience of architectures is an important topic in empirical aesthetics. In this study, we examined the effect of three architectural factors, i.e., ceiling height, openness, and contour, on viewers' aesthetic appreciation through a series of experiments. In previous studies on architectural aesthetics, participants were usually asked to view an image of an architectural space for a few seconds. The long viewing time allows them to focus on different parts of the architecture and then make an aesthetic judgment. The long viewing time, however, also makes it difficult to obtain viewers' aesthetic scores for a large number of architectural spaces in a short period. In this study, we shortened the visual presentation time to 200 ms, which allowed the viewers to have only one fixation on the image, and asked the viewers to make an aesthetic judgment. It was found that the experiment with a 200-ms viewing time could establish how the three architectural factors influenced aesthetic judgment as well as previous experiments with a 3,000-ms viewing time, suggesting that aesthetic judgment could be made within one fixation. Additionally, we investigated the impact of color on architectural aesthetic judgment by presenting grayscale images. We found that the three architectural factors influenced aesthetic judgment in similar ways for both color and grayscale images. In summary, we found that color was not a main factor modulating viewers' architectural aesthetic judgments, and we also presented a way to quickly obtain aesthetic scores for architectural spaces.
Project description:Post-tonal music often poses perceptual and cognitive challenges for listeners, potentially related to the use of relatively uncommon and unfamiliar musical material and compositional processes. As a basic compositional device, repetition affects memory for music and is structured by composers in very different ways across tonal and post-tonal musical repertoires. Of particular concern is whether post-tonal music exhibits mnemonic affordances that allow listeners to experience a sense of global coherence, and whether repetition correlates strongly with aesthetic judgment. Although previous research suggests that repetition impacts aesthetic preference, empirical research has not mapped out the relationship between repetition and aesthetic judgments across a broad set of post-tonal music. Presenting 14 excerpts, grouped into three categories: tonal, modernist, and post-1970, we observed that indications of repetitions in the music for a group of 60 listeners, with and without musical training, showed significant periods of interindividual synchronization. Aesthetic judgments were assessed by means of ratings for the following parameters: familiarity with the piece, confidence of repetition responses, judgments of affordances for easy listening, coherence, similarity of moments, and recognition, as well as listeners' liking and interest. A principal component analysis (PCA) on the joint question data and the repetition responses suggested that two factors account for 92% of variance in the data. These factors were interpreted as dominated by aesthetic judgment and repetition strength. Linear mixed-effects regression indicated that repetition strength generally differed across excerpt category, with modernist excerpts featuring lower repetition strength compared to both post-1970 and tonal excerpts. Aesthetic preference, on the other hand, was lower for excerpts in both the modernist and post-1970 categories when compared to tonal excerpts. The analysis did not reveal difference in response behavior for repetition responses as a function of musical training, though it indicated higher preference of modernist excerpts with increasing levels of musical training. Overall, the results suggest that the two factors, aesthetic judgment and repetition strength, act as independent determinants in the experience of post-tonal music.
Project description:PurposeEmotional eating is a trans-diagnostic dimension in eating disorders and is present in many other conditions that could affect eating attitudes. At present, there is no instrument that measures emotional eating evaluating both the intensity and the frequency of emotion-induced desire to eat. The aim of the study was the validation of the Florence Emotional Eating Drive (FEED).MethodsA sample of healthy volunteers was initially enrolled to explore internal consistency and test-retest reliability. The Emotional Eating Scale (EES), Eating Disorders Evaluation-Questionnaire (EDE-Q), Binge Eating Scale (BES) and Symptom Checklist-90 (SCL-90-R), together with the final version of FEED, were administered to a clinical sample composed by patients with eating disorders, obesity, and type 2 diabetes, to explore the underlying structure of the questionnaire and verify its validity.ResultsFEED showed excellent internal consistency (Cronbach's alpha = 0.96) and test-retest reliability (r = 0.93). FEED scores were higher in patients with BN and BED than in AN patients, negatively correlated with age and positively with BES and EES. Multiple regression analysis showed that FEED, but not EES, was independently associated with SCL-90-R and EDE-Q scores.ConclusionFEED internal consistency and test-retest reliability were excellent. The addition of specific questions on the frequency of behaviours led to a better component structure and robustness compared to EES. A tool that reliably and specifically assesses eating behaviours driven by emotional states may be extremely useful in clinical settings.Level of evidenceLevel V, cross-sectional study.
Project description:Metaphorical association between vertical space and emotional valence is activated by bodily movement toward the corresponding space. Upward or downward manual movement "following" observation of emotional images is reported to alter the perceived valence as more positive or negative. This study aimed to clarify this retrospective emotional modulation. Experiment 1 investigated the effects of temporal order of emotional stimuli and manual movements. Participants performed upward, downward, or horizontal manual movements immediately before or after observation of emotional images; they then rated the valence of the image. The images were rated as more negative in downward- than in horizontal-movement conditions only when the movements followed the image observation. Upward movement showed no effect. Experiment 2 examined the effects of temporal proximity between images, movements, and ratings. The results showed that a 2-s interval either between image and movement or movement and rating nullified the retrospective effect. Bodily movement that corresponds to space-valence metaphor retrospectively, but not prospectively, alters the perceived valence of emotional stimuli. This effect requires temporal proximity between emotional stimulus, the subsequent movement, and rating of the stimulus. With respect to the lack of effect of upward-positive correspondence, anisotropy in effects of movement direction is discussed.
Project description:This study investigated how emotional language usage impacts self-referential effects in memory in healthy older adults and individuals with amnestic mild cognitive impairment (aMCI). To heighten self-focus, 37 healthy older adults and 22 aMCI participants narrated autobiographical memories and then encoded words using a self-referencing or a semantic strategy. We were interested in how narrating autobiographical memories impacted subsequent memory. We probed narrative language usage with the Linguistic Inquiry and Word Count text analysis program, testing the degree to which language from the narrated autobiographical memories contain emotional (positive and negative) words that predicted the self-reference effect across groups. Results indicated that higher levels of positive emotional language were related to larger self-reference effects in memory. In conclusion, narrating autobiographical memories using emotional language influenced the effectiveness of self-referencing as a memory strategy for both healthy older adults and aMCI participants.
Project description:Aesthetic chills are an embodied peak emotional experience induced by stimuli such as music, films, and speeches and characterized by dopaminergic release. The emotional consequences of chills in terms of valence and arousal are still debated and the existing empirical data is conflicting. In this study, we tested the effects of ChillsDB, an open-source repository of chills-inducing stimuli, on the emotional ratings of 600+ participants. We found that participants experiencing chills reported significantly more positive valence and greater arousal during the experience, compared to participants who did not experience chills. This suggests that the embodied experience of chills may influence one's perception and affective evaluation of the context, in favor of theoretical models emphasizing the role of interoceptive signals such as chills in the process of perception and decision-making. We also found an interesting pattern in the valence ratings of participants, which tended to harmonize toward a similar mean after the experiment, though initially disparately distributed. We discuss the significance of these results for the diagnosis and treatment of dopaminergic disorders such as Parkinson's, schizophrenia, and depression.
Project description:Despite the evolutionary history and cultural significance of visual art, the structure of aesthetic experiences it evokes has only attracted recent scientific attention. What kinds of experience does visual art evoke? Guided by Semantic Space Theory, we identify the concepts that most precisely describe people's aesthetic experiences using new computational techniques. Participants viewed 1457 artworks sampled from diverse cultural and historical traditions and reported on the emotions they felt and their perceived artwork qualities. Results show that aesthetic experiences are high-dimensional, comprising 25 categories of feeling states. Extending well beyond hedonism and broad evaluative judgments (e.g., pleasant/unpleasant), aesthetic experiences involve emotions of daily social living (e.g., "sad", "joy"), the imagination (e.g., "psychedelic", "mysterious"), profundity (e.g., "disgust", "awe"), and perceptual qualities attributed to the artwork (e.g., "whimsical", "disorienting"). Aesthetic emotions and perceptual qualities jointly predict viewers' liking of the artworks, indicating that we conceptualize aesthetic experiences in terms of the emotions we feel but also the qualities we perceive in the artwork. Aesthetic experiences are often mixed and lie along continuous gradients between categories rather than within discrete clusters. Our collection of artworks is visualized within an interactive map ( https://barradeau.com/2021/emotions-map/ ), revealing the high-dimensional space of aesthetic experiences associated with visual art.