Gesche Westphal-Fitch

Visual artificial grammar learning: comparative research on humans, kea (Nestor notabilis) and pigeons (Columba livia)

Artificial grammar learning (AGL) provides a useful tool for exploring rule learning strategies linked to general purpose pattern perception. To be able to directly compare performance of humans with other species with different memory capacities, we developed an AGL task in the visual domain. Presenting entire visual patterns simultaneously instead of sequentially minimizes the amount of required working memory. This approach allowed us to evaluate performance levels of two bird species, kea (Nestor notabilis) and pigeons (Columba livia), in direct comparison to human participants. After being trained to discriminate between two types of visual patterns generated by rules at different levels of computational complexity and presented on a computer screen, birds and humans received further training with a series of novel stimuli that followed the same rules, but differed in various visual features from the training stimuli. Most avian and all human subjects continued to perform well above chance during this initial generalization phase, suggesting that they were able to generalize learned rules to novel stimuli. However, detailed testing with stimuli that violated the intended rules regarding the exact number of stimulus elements indicates that neither bird species was able to successfully acquire the intended pattern rule. Our data suggest that, in contrast to humans, these birds were unable to master a simple rule above the finite-state level, even with simultaneous item presentation and despite intensive training.

Production and perception rules underlying visual patterns: effects of symmetry and hierarchy

Formal language theory has been extended to two-dimensional patterns, but little is known about two-dimensional pattern perception. We first examined spontaneous two-dimensional visual pattern production by humans, gathered using a novel touch screen approach. Both spontaneous creative production and subsequent aesthetic ratings show that humans prefer ordered, symmetrical patterns over random patterns. We then further explored pattern-parsing abilities in different human groups, and compared them with pigeons. We generated visual plane patterns based on rules varying in complexity. All human groups tested, including children and individuals diagnosed with autism spectrum disorder (ASD), were able to detect violations of all production rules tested. Our ASD participants detected pattern violations with the same speed and accuracy as matched controls. Childrens ability to detect violations of a relatively complex rotational rule correlated with age, whereas their ability to detect violations of a simple translational rule did not. By contrast, even with extensive training, pigeons were unable to detect orientation-based structural violations, suggesting that, unlike humans, they did not learn the underlying structural rules. Visual two-dimensional patterns offer a promising new formally-grounded way to investigate pattern production and perception in general, widely applicable across species and age groups.

More than one way to see it: Individual heuristics in avian visual computation

Graphical abstract

Spatial Analysis of “Crazy Quilts”, a Class of Potentially Random Aesthetic Artefacts

Human artefacts in general are highly structured and often display ordering principles such as translational, reflectional or rotational symmetry. In contrast, human artefacts that are intended to appear random and non symmetrical are very rare. Furthermore, many studies show that humans find it extremely difficult to recognize or reproduce truly random patterns or sequences. Here, we attempt to model two-dimensional decorative spatial patterns produced by humans that show no obvious order. “Crazy quilts” represent a historically important style of quilt making that became popular in the 1870s, and lasted about 50 years. Crazy quilts are unusual because unlike most human artefacts, they are specifically intended to appear haphazard and unstructured. We evaluate the degree to which this intention was achieved by using statistical techniques of spatial point pattern analysis to compare crazy quilts with regular quilts from the same region and era and to evaluate the fit of various random distributions to these two quilt classes. We found that the two quilt categories exhibit fundamentally different spatial characteristics: The patch areas of crazy quilts derive from a continuous random distribution, while area distributions of regular quilts consist of Gaussian mixtures. These Gaussian mixtures derive from regular pattern motifs that are repeated and we suggest that such a mixture is a distinctive signature of human-made visual patterns. In contrast, the distribution found in crazy quilts is shared with many other naturally occurring spatial patterns. Centroids of patches in the two quilt classes are spaced differently and in general, crazy quilts but not regular quilts are well-fitted by a random Strauss process. These results indicate that, within the constraints of the quilt format, Victorian quilters indeed achieved their goal of generating random structures.

Bioaesthetics: The evolution of aesthetic cognition in humans and other animals

Bioaesthetics, an exciting new branch of aesthetics, examines the evolutionary origins of aesthetics in humans and other animals. We suggest that aesthetics is a multicomponent faculty and discuss certain traits that are shared with other species. We discuss Richard Prums theory that aesthetic signal and audience are joined in a coevolutionary loop: one by necessity shaping the other. We discuss its implications for aesthetic phenomena as diverse as sexual selection, domestication, and cuisine. In addition to biologically evolved aesthetics, we emphasize that humans possess culturally coevolved aesthetics, which helps explain the unusual variability of aesthetic domains across human cultures. We analyze social and cognitive factors that may have driven this development, particularly exploring the role of the artist, who we argue must mentally adopt the position of the audience while producing an artwork, instantiating a third coevolutionary loop on the individual level.

Artificial grammar learning capabilities in an abstract visual task match requirements for linguistic syntax

Whether pattern-parsing mechanisms are specific to language or apply across multiple cognitive domains remains unresolved. Formal language theory provides a mathematical framework for classifying pattern-generating rule sets (or “grammars”) according to complexity. This framework applies to patterns at any level of complexity, stretching from simple sequences, to highly complex tree-like or net-like structures, to any Turing-computable set of strings. Here, we explored human pattern-processing capabilities in the visual domain by generating abstract visual sequences made up of abstract tiles differing in form and color. We constructed different sets of sequences, using artificial “grammars” (rule sets) at three key complexity levels. Because human linguistic syntax is classed as “mildly context-sensitive,” we specifically included a visual grammar at this complexity level. Acquisition of these three grammars was tested in an artificial grammar-learning paradigm: after exposure to a set of well-formed strings, participants were asked to discriminate novel grammatical patterns from non-grammatical patterns. Participants successfully acquired all three grammars after only minutes of exposure, correctly generalizing to novel stimuli and to novel stimulus lengths. A Bayesian analysis excluded multiple alternative hypotheses and shows that the success in rule acquisition applies both at the group level and for most participants analyzed individually. These experimental results demonstrate rapid pattern learning for abstract visual patterns, extending to the mildly context-sensitive level characterizing language. We suggest that a formal equivalence of processing at the mildly context sensitive level in the visual and linguistic domains implies that cognitive mechanisms with the computational power to process linguistic syntax are not specific to the domain of language, but extend to abstract visual patterns with no meaning.