Taste and the algorithm

Today, a consistent part of our everyday interaction with art and aesthetic artefacts occurs through digital media, and our preferences and choices are systematically tracked and analyzed by algorithms in ways that are far from transparent. Our consumption is constantly documented, and then, we are fed back through tailored information. We are therefore witnessing the emergence of a complex interrelation between our aesthetic choices, their digital elaboration, and also the production of content and the dynamics of creative processes. All are involved in a process of mutual influences, and are partially determined by the invisible guiding hand of algorithms. With regard to this topic, this paper will introduce some key issues concerning the role of algorithms in aesthetic domains, such as taste detection and formation, cultural consumption and production, and showing how aesthetics can contribute to the ongoing debate about the impact of today’s “algorithmic culture”

On the primacy and irreducible nature of first-person versus third-person information

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Change blindness: eradication of gestalt strategies

Arrays of eight, texture-defined rectangles were used as stimuli in a one-shot change blindness (CB) task where there was a 50% chance that one rectangle would change orientation between two successive presentations separated by an interval. CB was eliminated by cueing the target rectangle in the first stimulus, reduced by cueing in the interval and unaffected by cueing in the second presentation. This supports the idea that a representation was formed that persisted through the interval before being 'overwritten' by the second presentation (Landman et al, 2003 Vision Research 43149–164]. Another possibility is that participants used some kind of grouping or Gestalt strategy. To test this we changed the spatial position of the rectangles in the second presentation by shifting them along imaginary spokes (by ±1 degree) emanating from the central fixation point. There was no significant difference seen in performance between this and the standard task [F(1,4)=2.565, p=0.185]. This may suggest two things: (i) Gestalt grouping is not used as a strategy in these tasks, and (ii) it gives further weight to the argument that objects may be stored and retrieved from a pre-attentional store during this task

Relationship between electroencephalographic data and comfort perception captured in a Virtual Reality design environment of an aircraft cabin

Successful aircraft cabin design depends on how the different stakeholders are involved since the first phases of product development. To predict passenger satisfaction prior to the manufacturing phase, human response was investigated in a Virtual Reality (VR) environment simulating a cabin aircraft. Subjective assessments of virtual designs have been collected via questionnaires, while the underlying neural mechanisms have been captured through electroencephalographic (EEG) data. In particular, we focused on the modulation of EEG alpha rhythm as a valuable marker of the brain's internal state and investigated which changes in alpha power and connectivity can be related to a different visual comfort perception by comparing groups with higher and lower comfort rates. Results show that alpha-band power decreased in occipital regions during subjects' immersion in the virtual cabin compared with the relaxation state, reflecting attention to the environment. Moreover, alpha-band power was modulated by comfort perception: lower comfort was associated with a lower alpha power compared to higher comfort. Further, alpha-band Granger connectivity shows top-down mechanisms in higher comfort participants, modulating attention and restoring partial relaxation. Present results contribute to understanding the role of alpha rhythm in visual comfort perception and demonstrate that VR and EEG represent promising tools to quantify human-environment interactions

Integrating holism and reductionism in the science of art perception

The contextualist claim that universalism is irrelevant to the proper study of art can be evaluated by examining an analogous question in neuroscience. Taking the reductionist-holist debate in visual neuroscience as a model, we see that the analog of orthodox contextualism is untenable, whereas integrated approaches have proven highly effective. Given the connection between art and vision, unified approaches are likewise more germane to the scientific study of ar

Inhomogeneity of visual space, discontinuity of perceptual time and cultural imprinting as exemplified with experiments on visual attention, aesthetic appreciation and temporal processing

Eines der wichtigsten Argumente für einen kognitivistischen Zugang zur Psychologie ist, dass sich die Psychologie nicht grundlegend von der Physik zu unterscheiden scheint; mentale Phänomene sind offenbar unmittelbar auf physikalische Realität bezogen. Beginnend mit der Psychophysik seit dem neunzehnten Jahrhunderts haben Experimente gezeigt, dass dieser Denkansatz nicht nur mit großen Vorteilen, sondern auch mit einigen Fallstricken verbunden sein kann. Auf der Basis des zugrundeliegenden Konzepts, dass mentale Phänomene physikalischen Ereignissen unmittelbar zugeordnet werden können, wird automatisch angenommen, dass die zeitliche Verarbeitung von sensorischen Informationen kontinuierlich sei, wie es das Zeitkonzept in der klassischen Physik nahelegt. Dieses Konzept widerspricht der Möglichkeit einer diskreten zeitlichen Informationsverarbeitung, wie sie in der Tat gilt. Des weiteren wird davon ausgegangen, dass Informationsverarbeitung in einem homogenen visuellen Wahrnehmungsraum eingebettet ist; dies ist jedoch nicht der Fall. Es wird dargestellt, dass mit einfachen sensorischen Reizen oder komplexen ästhetischen Stimuli und deren experimenteller Manipulation ein brauchbares empirisches Paradigma für ein besseres Verständnis von kognitiven Mechanismen bereitsteht, das auf diskrete zeitliche Verarbeitung und einen inhomogenen visuellen Wahrnehmungsraum hinweist. In mehreren Experimenten wird gezeigt, daß die Modulation der Aufmerksamkeit im Gesichtsfeld nicht homogen ist; Reaktionszeitexperimente mit spezifischen Modifikationen stützen die Hypothese, dass funktionell zwei Aufmerksamkeitssysteme im Gesichtsfeld eingebettet sind. Weitere unterstützende Beobachtungen über die Inhomogenität des Gesichtsfeldes kommen aus Experimenten zur ästhetischen Wahrnehmung westlicher und östlicher Kunstwerke. Diese Forschung bestätigt überdies das allgemeine Konzept von anthropologischen Universalien sowie kulturellen oder individuellen Spezifika bei der ästhetischen Wahrnehmung. Im Hinblick auf die zeitliche Wahrnehmung weisen Histogramme der Reaktionszeit auf diskrete zeitliche Informationsverarbeitung hin, was sich auch aus Beobachtungen der zeitlichen Ordnungsschwelle herleiten läßt. Bei der Untersuchung verzögerter Reaktionen wird gezeigt, dass eine präzise zeitliche Kontrolle erst nach einem längeren Intervall erreicht wird. Zusammenfassend kann man aus den verschiedenen Experimenten herleiten, dass mentale Prozesse im räumlichen und zeitlichen Bereich zwar offenkundig nicht direkt zugänglich sind, doch sollte dies nicht als eine undurchdringliche Barriere angesehen werden, um Mechanismen mentaler Prozesse zu entschlüsseln. Mit den klar definierten physikalischen Stimuli und der genauen Beachtung von Stationaritätsbedingungen bei Messungen kann diskrete zeitliche Verarbeitung und Inhomogenität des visuellen Wahrnehmungsraums gezeigt werden.One of the most compelling arguments for a cognitivist approach to psychology is that psychology does not seem to be fundamentally different from physics; mental phenomena appear to be directly related to physical reality. Experimental evidence beginning in the nineteenth century with psychophysics has shown that this approach can offer great benefits, but can suffer from some pitfalls as well. On the basis of the underlying concept that mental phenomena match directly physical events, it is automatically assumed that temporal processing of sensory information is continuous as it is assumed in classical physics neglecting the possibility of discrete temporal information processing, which in fact is the case. Furthermore, it is assumed that information processing is embedded in a homogeneous perceptual visual space; this is not the case. It is shown that the use of simple sensory stimuli or complex aesthetic stimuli and their experimental manipulation provide a useful empirical paradigm for a better understanding of the cognitive mechanisms, i.e., indicating discrete temporal processing and an inhomogeneous perceptual visual space. A number of experiments show that attentional modulation is not homogeneous in the visual field; observations using the reaction time paradigm with specific modifications support the hypothesis that two attention systems are functionally embedded in the visual field. Further supportive findings about the inhomogeneity of the visual field come from experiments on the aesthetic perception of Western and Eastern artworks. This research also confirms in addition the general concept of anthropological universals and cultural or individual specifics in aesthetic appreciation. With regard to temporal perception, reaction time distributions suggest discrete time sampling which can also be derived from observations on temporal order threshold. When testing delayed reactions after stimulus presentation, it is shown that precise temporal control is reached only after a rather long interval. It can be concluded on the basis of the different experiments that even though mental processes in the space and time domain are obviously not directly accessible, this should not be considered as an impenetrable barrier to unravel the mechanism of mental processes. Employing well-defined physical stimuli and strictly observing stationarity conditions in measurements indicate discreteness in temporal processing and inhomogeneity of visual space

It is all about our impulsiveness – How consumer impulsiveness modulates neural evaluation of hedonic and utilitarian banners

This study was supported by two Excellence Projects awarded by the Junta de Andalusia [REF: B-SEJ-220-UGR18 and A-SEJ-426-UGR20], a grant from the Fundacion Ramon Areces [CISP18A6208] and a grant from the Plan of the Vice-rectorate of Research of the UGR (Program 20, application 82). We thank Universidad de Granada/CBUA for funding to make this paper open access.The increasing number of active Internet users has encouraged companies to compete to design the most efficient online ads for their target audience. While some companies build their ads based on the functional and instrumental benefits of their advertised products (i.e., utilitarian banners), others emphasize the experiential, personal, and emotional advantages of purchasing their product (i.e., hedonic banners). This is the first study to use neuroimaging to address the debate in the literature regarding the processing and effectiveness of these types of messages. By means of functional Magnetic Resonance Imaging (fMRI), we explored the neural mechanisms by which an individual consumer trait, namely consumer impulsiveness, influences the evaluation of hedonic and utilitarian banners. The neural results revealed that more impulsive consumers exhibit a higher level of activation in brain regions linked to reward, trust, emotion, as well as a reduction of activity in self-control brain networks, when viewing hedonic banners. Consumers reporting lower levels of impulsiveness (i.e., prudent users), in turn, exhibited stronger activation in brain regions associated with self-control and cognition when evaluating utilitarian banners. Consequently, on the basis of an objective and neuropsychological approach, these results can be used to inform companies about the type of online advertising they should use based on the characteristics of their target audience.Junta de Andalusia B-SEJ-220-UGR18 A-SEJ-426-UGR20Fundacion Ramon Areces CISP18A6208UGRUniversidad de Granada/CBU

Toward an integrative approach of cognitive neuroscientific and evolutionary psychological studies of art

This paper examines explanations for human artistic behavior in two reductionist research programs, cognitive neuroscience and evolutionary psychology. Despite their different methodological outlooks, both approaches converge on an explanation of art production and appreciation as byproducts of normal perceptual and motivational cognitive skills that evolved in response to problems originally not related to art, such as the discrimination of salient visual stimuli and speech sounds. The explanatory power of this reductionist framework does not obviate the need for higher-level accounts of art from the humanities, such as aesthetics, art history or anthropology of art