Gernot Gerger

What makes an art expert? Emotion and evaluation in art appreciation

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.

Priming semantic concepts affects the dynamics of aesthetic appreciation

Aesthetic appreciation (AA) plays an important role for purchase decisions, for the appreciation of art and even for the selection of potential mates. It is known that AA is highly reliable in single assessments, but over longer periods of time dynamic changes of AA may occur. We measured AA as a construct derived from the literature through attractiveness, arousal, interestingness, valence, boredom and innovativeness. By means of the semantic network theory we investigated how the priming of AA-relevant semantic concepts impacts the dynamics of AA of unfamiliar product designs (car interiors) that are known to be susceptible to triggering such effects. When participants were primed for innovativeness, strong dynamics were observed, especially when the priming involved additional AA-relevant dimensions. This underlines the relevance of priming of specific semantic networks not only for the cognitive processing of visual material in terms of selective perception or specific representation, but also for the affective-cognitive processing in terms of the dynamics of aesthetic processing.

Titles change the esthetic appreciations of paintings

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.

Birds of a feather… Generalization of facial structures following massive familiarization

Three experiments examined the effects of symmetry and complexity, as facial structures, on the aesthetic judgments of faces, and how these effects are modulated by moderate or massive familiarization. Results showed that symmetrical faces were judged as more attractive than nonsymmetrical faces, and simple faces were judged as more attractive than complex faces-with complexity defined as the number of facial elements. Complexity in faces seemed to have overridden the usually positive effects of facial symmetry. Moreover, while moderate familiarization did not modulate the effects, massive familiarization to a specific face type resulted in structural generalization effects: participants provided higher aesthetic judgments to faces that were new, but similarly structured to those which they were familiarized. This latter result contrasts previous studies that have found structural contrast effects following familiarization to meaningless, abstract stimuli. Taken together, these results reflect the greater biological and social significance of faces as compared to other objects in the world. They also show that people are drawn to those with familiar characteristics.

But Is It really Art? The Classification of Images as “Art”/“Not Art” and Correlation with Appraisal and Viewer Interpersonal Differences

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 presentia actuale—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.

Where Does It Come From? Developmental Aspects of Art Appreciation

Art is a unique feature of human experience. It involves the complex interplay among stimuli, persons and contexts. Little is known of how the various features deemed important in art appreciation depend on development, thus are already present at a young age. Similarly to our previous approach with adults of differing levels of expertise, the present study uses structural equation modeling to explore this complex interplay by analyzing differences in the appreciation of classical, abstract and modern artworks by children of two age groups. We measured evaluations of perceived beauty, elicited emotions, arousal and understanding. Structural equation solutions for children not only revealed significant effects of emotion in all conditions, but also confirmed that the dependencies between emotion and liking were consistently higher for younger children, while the interactions of arousal and liking, as well as understanding, were higher for older children. These results are in accordance with a transition from an affective towards an increasingly cognitive knowledge based sense of aesthetics, but underline the importance of emotional processing as fundamental.

Everything’s Relative? Relative Differences in Processing Fluency and the Effects on Liking

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.

It felt fluent but I did not like it: fluency effects in faces versus patterns.

Whether you like a person or not is often appraised in a glance. However, under such short presentation durations stimuli are harder to perceive and, according to hedonic fluency theory-which holds that higher fluency is linked to higher liking-thus, are liked less. Given that liking considerably influences person perception, we tested how shorter and longer presentation durations affect liking for faces and compared this with abstract patterns. To capture facets of fluency of processing we assessed felt fluency, liking, and certainty ratings. Following predictions of fluency theory, longer presentation durations led to higher felt fluency, certainty, and positively affected liking judgments in the abstract patterns. In faces, felt fluency and certainty also increased with longer durations. However, with longer durations, faces were liked less, and liking was not related to felt fluency. In other words, in contrast to hedonic fluency theory, faces are more attractive when only seen for a short amount of time. Thus, fluency does not inevitably lead to more positive evaluations—it rather depends on the stimulus category. We discuss these findings in terms of the special status that faces have with regard to human perception and evaluation.

Capturing aesthetic experiences with Installation Art: An empirical assessment of emotion, evaluations, and mobile eye tracking in Olafur Eliasson's 'Baroque, Baroque!'

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 in situ, 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.

Correlating Beauty and Two Measures of Pleasure.

When you look at your beauty and I look at mine, do we have the same feeling? Kant (1764) and Santayana (1896) say that the experience of beauty is pleasure, with qualifications. So we measure pleasure. Observers use Google Images to find an image that is beautiful to them. The observer is asked to look at that image and rate pleasure by continually adjusting the spread of two fingers to track the decaying pleasure they feel from the image. We record both the finger spread rating (on smartphone screen using our emotiontracker.net) and facial muscle activity (fEMG, facial electromyography of M. corrugator supercilii and M. zygomaticus major). We find a high correlation between the feeling of beauty (or liking) and fEMG and finger-rating responses. The rating correlation is 80% until 90 s after stimulus offset. This consistent finding across observers suggests that the two physiological responses, one overt and the other automatic, both track the pleasure of beauty. Meeting abstract presented at VSS 2015.