Why do some people like negative, or even disgusting and provocative artworks? Art expertise, believed to influence the interplay among cognitive and emotional processing underlying aesthetic ...experience, could be the answer. We studied how art expertise modulates the effect of positive-and negative-valenced artworks on aesthetic and emotional responses, measured with self-reports and facial electromyography (EMG). Unsurprisingly, emotionally-valenced art evoked coherent valence as well as corrugator supercilii and zygamoticus major activations. However, compared to non-experts, experts showed attenuated reactions, with less extreme valence ratings and corrugator supercilii activations and they liked negative art more. This pattern was also observed for a control set of International Affective Picture System (IAPS) pictures suggesting that art experts show general processing differences for visual stimuli. Thus, much in line with the Kantian notion that an aesthetic stance is emotionally distanced, art experts exhibited a distinct pattern of attenuated emotional responses.
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BFBNIB, DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, UILJ, UKNU, UL, UM, UPUK
This paper has a rather audacious purpose: to present a comprehensive theory explaining, and further providing hypotheses for the empirical study of, the multiple ways by which people respond to art. ...Despite common agreement that interaction with art can be based on a compelling, and occasionally profound, psychological experience, the nature of these interactions is still under debate. We propose a model, The Vienna Integrated Model of Art Perception (VIMAP), with the goal of resolving the multifarious processes that can occur when we perceive and interact with visual art. Specifically, we focus on the need to integrate bottom-up, artwork-derived processes, which have formed the bulk of previous theoretical and empirical assessments, with top-down mechanisms which can describe how individuals adapt or change within their processing experience, and thus how individuals may come to particularly moving, disturbing, transformative, as well as mundane, results. This is achieved by combining several recent lines of theoretical research into a new integrated approach built around three processing checks, which we argue can be used to systematically delineate the possible outcomes in art experience. We also connect our model's processing stages to specific hypotheses for emotional, evaluative, and physiological factors, and address main topics in psychological aesthetics including provocative reactions—chills, awe, thrills, sublime—and difference between “aesthetic” and “everyday” emotional response. Finally, we take the needed step of connecting stages to functional regions in the brain, as well as broader core networks that may coincide with the proposed cognitive checks, and which taken together can serve as a basis for future empirical and theoretical art research.
•Introduce integrated model of top-down and bottom-up processes underlying art viewing.•Posit five outcomes and seven stages which account for all main ways of responding to art.•Systematic approach to understanding wide range of evaluations, meaning-making, and emotions.•Connect, for the first time, processing stages to specific correlates of the brain.
Esthetic experiences of artworks are influenced by contextualizing information such as titles. However, how titles contribute to positive esthetic experiences is still an open issue. Considering that ...fluency, as well as effortful elaborate processing, potentially influence esthetic experiences, we tested how three different title types-semantically matching (fluent), semantically non-matching (non-fluent), and an "untitled" condition (control)-affected experiences of abstract, semi-abstract, and representational art. While participants viewed title/artwork combinations we assessed facial electromygraphic (fEMG) recordings over M. corrugator supercilii and M. zygomaticus major muscle to capture subtle changes in emotional and cognitive processing, and asked for subjective liking and interest. Matching titles, but also the more effortful untitled condition, produced higher liking compared to non-fluently processed, non-matching titles especially in abstract art. These results were reflected in fEMG with stronger M. corrugator activations in the non-matching condition followed by the untitled condition. This implies high cognitive effort as well as negative emotions. Only in the matching condition, M. zygomaticus was more strongly activated indicating positive emotions due to fluency. Interest, however, was hardly affected. These results show that high levels of dis-fluency and cognitive effort reduce liking. However, fluency as well as moderate levels of effort contribute to more positive esthetic experiences.
When an individual participates in empirical studies involving the visual arts, they most often are presented with a stream of images, shown on a computer, depicting reproductions of artworks by ...respected artists but which are often not known to the viewer. While art can of course be shown in
-e.g., in the museum-this laboratory paradigm has become our go-to basis for assessing interaction, and, often in conjunction with some means of rating, for assessing evaluative, emotional, cognitive, and even neurophysiological response. However, the question is rarely asked: Do participants actually believe that every image that they are viewing is indeed "Art"? Relatedly, how does this evaluation relate to aesthetic appreciation, and do the answers to these questions vary in accordance with different strategies and interpersonal differences? In this paper, we consider the spontaneous classification of digital reproductions as art or not art. Participants viewed a range of image types-Abstract, Hyperrealistic, Poorly Executed paintings, Readymade sculptures, as well as Renaissance and Baroque paintings. They classified these as "art" or "not art" using both binary and analog scales, and also assessed for liking. Almost universally, individuals did not find all items within a class to be "art," nor did all participants agree on the arthood status for any one item. Art classification in turn showed a significant positive correlation with liking. Whether an object was classified as art moreover correlated with specific personality variables, tastes, and decision strategies. The impact of these findings is discussed for selection/assessment of participants and for better understanding the basis of findings in past and future empirical art research.
Explanations of aesthetic pleasure based on processing fluency have shown that ease-of-processing fosters liking. What is less clear, however, is how processing fluency arises. Does it arise from a ...relative comparison among the stimuli presented in the experiment? Or does it arise from a comparison to an internal reference or standard? To address these questions, we conducted two experiments in which two ease-of-processing manipulations were applied: either (1) within-participants, where relative comparisons among stimuli varying in processing ease were possible, or (2) between-participants, where no relative comparisons were possible. In total, 97 participants viewed simple line drawings with high or low visual clarity, presented at four different presentation durations, and rated for felt fluency, liking, and certainty. Our results show that the manipulation of visual clarity led to differences in felt fluency and certainty regardless of being manipulated within- or between-participants. However, liking ratings were only affected when ease-of-processing was manipulated within-participants. Thus, feelings of fluency do not depend on the nature of the reference. On the other hand, participants liked fluent stimuli more only when there were other stimuli varying in ease-of-processing. Thus, relative differences in fluency seem to be crucial for liking judgments.
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DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, SIK, UILJ, UKNU, UL, UM, UPUK
The Islamic headscarf has been in the middle of heated debates in European society, yet little is known about its influence on day-to-day interactions. The aim of this randomized field experiment (n ...= 840) is to explore how the generally negative views that surround the hijab in Europe manifest in the behavior that people direct to hijab-wearing women in everyday situations. Using a helping scenario and videotapes of the resulting interactions, we measured whether passengers offered assistance and also various details of behavior that indicate interpersonal involvement. We predicted that in interaction with the covered confederate less help would be offered, that women's level of nonverbal involvement would increase but men's decrease, and that responses would be stronger in Paris, intermediate in Brussels, and weaker in Vienna. We analyzed the data using Generalized Linear Models estimated with Bayesian inference. While the headscarf does not produce concluding differences in "overt" helping, it does affect "subtle" cues of interpersonal involvement. In response to the hijab, women across sites increase, but men in Paris decrease, the level of involvement that they show with their nonverbal behavior.
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DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, SIK, UILJ, UKNU, UL, UM, UPUK
Installation art is one of the most important and provocative developments in the visual arts during the last half century and has become a key focus of artists and of contemporary museums. It is ...also seen as particularly challenging or even disliked by many viewers, and-due to its unique
, immersive setting-is equally regarded as difficult or even beyond the grasp of present methods in empirical aesthetic psychology. In this paper, we introduce an exploratory study with installation art, utilizing a collection of techniques to capture the eclectic, the embodied, and often the emotionally-charged viewing experience. We present results from an investigation of two pieces, both part of Olafur Eliasson's exhibition "Baroque, Baroque" held at the Belvedere museum in Vienna. These were assessed by pre- and post-viewing questionnaires focusing on emotion, meaning-making, and appraisals, in tandem with mobile eye tracking to consider viewers' attention to both installed artworks and/or to the museum environment. The data showed differences in participants' emotional states, appraisals, and visual exploration, which together paint a picture of the aesthetic reactions to the works. These differences also showed how viewers' appraisal strategies, meaning making, and physical actions facilitated relatively more or less deep engagement with, and enjoyment of, the art. The results are discussed in terms of their implications for museum studies, art education, and theory in empirical aesthetics.
The sublime is an enduring concept in Western aesthetic discourse and is often portrayed such as in Edmund Burke's A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful of ...1759 as a delightful horror, a kind of enjoyment based on negative emotions. In the current article, the relationship between sublimity and fear was explored using behavioral and physiological measures. In 2 studies (total N ≈ 120), photographs of nature were selected (Study 1: 192 photographs and Study 2: 72 photographs), rated on sublimity, beauty, fear, happiness, and arousal, before being assessed against facial muscle movement (fEMG) and skin conductance (SCR). In line with philosophical theories, ratings of sublimity showed positive associations with subjective fear ratings in both studies. Looking at fEMG data (Study 2), sublimity was in fact associated with a decrease of corrugator supercilli (frowning) reactions, indicating reduced emotional negativity. Furthermore, sublimity did not change activation levels of the zygomaticus major (smiling/positive emotional valence), nor did it influence movements of the medial frontalis (inner brow raise/fear). Increased ratings of fear increased corrugator supercilii and medial frontalis activations, and decreased zygomaticus major activation, replicating past findings. SCR activation was not predicted by any variable. The discrepancy between behavioral and physiological results likely results from a combination of false appraisal and distancing mechanisms, and thus encourages the reconsideration of generalizations made over the sublime in its relation to fear.
Objectives Telemedical applications are solutions to challenges in the healthcare system. However, it is unclear what intensive care unit healthcare professionals expect from such solutions. This ...study investigated the expectations and concerns of nurses and physicians when implementing telemedicine tools in intensive care units (tele-ICU). Methods The study was conducted in intensive care units in 2020 during the second wave of the COVID-19 pandemic. It used a mixed-methods approach targeted at physicians and nurses and involved 14 qualitative interviews and 63 quantitative questionnaires. Results The qualitative and quantitative data showed that both nurses and physicians were willing to use tele-ICU. Nurses recognised the advantages of real-time access to expertise offered by tele-ICU, but feared this would reduce physicians’ on-site patient time. Physicians, in turn, were concerned that they would be expected to be continuously on call. The majority in both groups agreed that any tele-ICU solution must be simple to use and integrate easily into existing organisational structures, networks, and work routines. Additionally, COVID-19 significantly influenced expectations: those who reported having more personal health concerns during the pandemic were more predisposed to favour the use of tele-ICU. Conclusions Overall, tele-ICU supports better care, but a successful implementation depends on its ease of use and context-sensitive approaches. Effectively integrating tele-ICU solutions into daily clinical routines requires input from nurses and physicians and their involvement in the implementation process from the outset, as well as consideration of existing organisational structures. Such measures will vastly increase the chance of acceptance and successful adoption of telemedical solutions in clinical practice.
In the arts emotionally negative objects sometimes can be positively judged. Defining an object as art possibly yields specific changes in how perceivers emotionally experience and aesthetically ...judge a stimulus. To study how emotional experiences (joy, anger, disgust, fear, sadness, and shame ratings, plus facial EMG) and aesthetic judgements (liking ratings) are modulated by an art context (“This is an artwork”) as compared to non-art reality context (“This is a press photograph”) participants evaluated IAPS pictures and veridical artworks depicting emotionally positive and negative content. In line with the assumption that emotional distancing is an essential feature of the art experience we found that positive emotional reactions were attenuated (joy, M. zygomaticus activation) in an art compared to non-art context. However, context had little influence on negative emotional reactions (anger, disgust, fear, sadness, shame, and M. corrugator activation) suggesting that these are similar in art and non-art. Importantly, only artworks of emotionally negative content were judged more positively in an art context — thus liked more. This study, in accordance with the assumption of a distanced aesthetic mode, shows that an art context fosters appraisal processes that influence emotional experiences, allowing to judge negative stimuli aesthetically more positively — thus suppressing the immediacy of emotional stimulus content.
•We examine effects of an art compared to non-art context on emotions and liking.•Negative emotional reactions are similar in an art and non-art context.•Positive emotional reactions are more distanced in an art context.•Emotionally negative objects can be liked more in an art context.•An art context leads to specific changes in emotions and liking.
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