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Testing whether and when abstract symmetric patterns produce affective responses.

ABSTRACT: Symmetry has a central role in visual art, it is often linked to beauty, and observers can detect it efficiently in the lab. We studied what kind of fast and automatic responses are generated by visual presentation of symmetrical patterns. Specifically, we tested whether a brief presentation of novel symmetrical patterns engenders positive affect using a priming paradigm. The abstract patterns were used as primes in a pattern-word interference task. To ensure that familiarity was not a factor, no pattern and no word was ever repeated within each experiment. The task was to classify words that were selected to have either positive or negative valence. We tested irregular patterns, patterns containing vertical and horizontal reflectional symmetry, and patterns containing a 90 deg rotation. In a series of 7 experiments we found that the effect of affective congruence was present for both types of regularity but only when observers had to classify the regularity of the pattern after responding to the word. The findings show that processing abstract symmetrical shapes or random pattern can engender positive or negative affect as long as the regularity of the pattern is a feature that observers have to attend to and classify.

SUBMITTER: Bertamini M

PROVIDER: S-EPMC3698216 | biostudies-literature | 2013

REPOSITORIES: biostudies-literature

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Testing whether and when abstract symmetric patterns produce affective responses.

Bertamini Marco M Makin Alexis A Pecchinenda Anna A

PloS one 20130701 7

Symmetry has a central role in visual art, it is often linked to beauty, and observers can detect it efficiently in the lab. We studied what kind of fast and automatic responses are generated by visual presentation of symmetrical patterns. Specifically, we tested whether a brief presentation of novel symmetrical patterns engenders positive affect using a priming paradigm. The abstract patterns were used as primes in a pattern-word interference task. To ensure that familiarity was not a factor, n ...[more]

PMID: 23840892

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Project description:Although previous research has characterized the important role for spatial and affective pre-cues in the control of visual attention, less is known about the impact of pre-cues on preference formation. In preference formation, the gaze cascade phenomenon suggests that the gaze serves both to enhance and express "liking" during value-based decision-making. This phenomenon has been interpreted as a type of Pavlovian approach toward preferred objects. Decision-making here reflects a process of gradual commitment in which the gaze functions as a precursor to choice; by this account, overt attention produces a necessarily positive, additive effect on the value of the attended object. The implication is that drawing attention to an object should initiate, and therefore promote, preference formation for that object. Alternatively, information-integration models of attention propose that attention produces a multiplicative effect on the value of the attended object, implying that negative information can impede preference formation. To pitch the gradual-commitment hypothesis against the information-integration hypothesis, we conducted four experiments that combined the spatial-cueing paradigm with a value-based choice paradigm. In each trial in all experiments, subjects were presented with an irrelevant, peripheral pre-cue for a duration of 500 ms, followed by a 500 ms blank, and then a pair of abstract images (one at the pre-cued position; one in the opposite hemifield). The subjects were asked to choose their preferred abstract image by pressing the corresponding button. We manipulated the type of pre-cues (images of faces versus foods; with varying affective associations) and the time constraints (a deadline of 1,500 ms versus self-paced). Overall, the choice data showed a clear pattern of influence from the pre-cues, such that, given a deadline, abstract images were chosen less often if they had been preceded by a pre-cue with a negative affective association (both for face and food images). Analyses of the gaze data showed the emergence of significant gaze biases in line with the subjects' choices. Taken together, the data pattern provided support for the information-integration hypothesis, particularly under urgency. When tasked with a speeded preference choice, subjects showed affective disengagement following pre-cues that carried a negative association.

Project description:Motion can be perceived in static images, such as photos and figurative paintings, representing realistic subjects in motion, with or without directional information (e.g., motion blur or speed lines). Motion impression can be achieved even in non-realistic static images such as motion illusions and abstract paintings. It has been shown that visual motion processing affects the diameter of the pupil, responding differently to real, illusory, and implied motion in photographs (IM). It has been suggested that these different effects might be due to top-down modulations from different cortical areas underlying their processing. It is worthwhile to investigate pupillary response to figurative paintings, since they require an even higher level of interpretation than photos representing the same kind of subjects, given the complexity of cognitive processes involved in the aesthetic experience. Also, pupil responses to abstract paintings allows to study the effect of IM perception in representations devoid of real-life motion cues. We measured pupil responses to IM in figurative and abstract artworks depicting static and dynamic scenes, as rated by a large group of individuals not participating in the following experiment. Since the pupillary response is modulated by the subjective image interpretation, a motion rating test has been used to correct individual pupil data according to whether participants actually perceived the presence of motion in the paintings. Pupil responses to movies showing figurative and abstract subjects, and to motion illusions were also measured, to compare real and illusory motion with painted IM. Movies, both figurative and abstract, elicit the largest pupillary dilation of all static stimuli, whereas motion illusions cause the smallest pupil size, as previously shown. Interestingly, pupil responses to IM depend on the paintings' style. Figurative paintings depicting moving subjects cause more dilation than those representing static figures, and pupil size increases with the strength of IM, as already found with realistic photos. The opposite effect is obtained with abstract artworks. Abstract paintings depicting motion produce less dilation than those depicting stillness. In any case, these results reflect the individual subjective perception of dynamism, as the very same paintings can induce opposite responses in observer which interpreted it as static or dynamic. Overall, our data show that pupil size depends on high-level interpretation of motion in paintings, even when they do not represent real-world scenes. Our findings further suggest that the pupil is modulated by multiple top-down cortical mechanisms, involving the processing of motion, attention, memory, imagination, and other cognitive functions necessary for enjoying a complete aesthetic experience.

Dataset Information

Testing whether and when abstract symmetric patterns produce affective responses.

Publications

Testing whether and when abstract symmetric patterns produce affective responses.

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