Adapting models of visual aesthetics for personalized content creation

This paper introduces a search-based approach to personalized content generation with respect to visual aesthetics. The approach is based on a two-step adaptation procedure where (1) the evaluation function that characterizes the content is adjusted to match the visual aesthetics of users and (2) the content itself is optimized based on the personalized evaluation function. To test the efficacy of the approach we design fitness functions based on universal properties of visual perception, inspired by psychological and neurobiological research. Using these visual properties we generate aesthetically pleasing 2D game spaceships via neuroevolutionary constrained optimization and evaluate the impact of the designed visual properties on the generated spaceships. The offline generated spaceships are used as the initial population of an interactive evolution experiment in which players are asked to choose spaceships according to their visual taste: the impact of the various visual properties is adjusted based on player preferences and new content is generated online based on the updated computational model of visual aesthetics of the player. Results are presented which show the potential of the approach in generating content which is based on subjective criteria of visual aesthetics.Thanks to all the participants of the interactive evolution experiement. The research was supported, in part, by the FP7 ICT project SIREN (project no: 258453) and by the Danish Research Agency, Ministry of Science, Technology and Innovation project AGameComIn; project number: 274- 09-0083.peer-reviewe

A quantitative approach for detecting symmetries and complexity in 2D plane

Aesthetic evaluation of computer generated patterns is a growing filed with several challenges. This paper focuses on the quantitative evaluation of order and complexity in multi-state two-dimensional (2D) cellular automata (CA). CA are known for their ability to generate highly complex patterns through simple and well defined local interaction of rules. It is suggested that the order and complexity of 2D patterns can be quantified by using mean information gain. This measure, also known as conditional entropy, takes into account conditional and joint probabilities of the elements of a configuration in a 2D plane. A series of experiments is designed to demonstrate the effectiveness of the mean information gain in quantifying the structural order and complexity, including the orientation of symmetries of multi-state 2D CA configurations

Methods in Visual Mathematics: Reductionism in Researching Mathematical Principles in Art

The visual arts offer a reflective source for understanding the processing of aesthetics and beauty that is significant to an awareness of brain function and the human psyche. Evaluating and determining what factors are integral to the experience of aesthetics holds value for understanding deeper psychological implications of perception. I conducted a survey of Western portraiture determined to be famed through repeated Internet searching of famous art and best-selling prints for the purpose of examining the works for mathematical attributes proposed to cause the experience of visual pleasure. While mathematical principles and patterns can be found within each example of portraiture, the overarching issue encountered is the validity of the methods that are present in the research that declares the merit of the principles and patterns used. As the data suggesting the value of the attributes sought in the works is flawed, so too is any conclusion based upon it. The ability to quantify the qualitative in an objective manner does not yet exist. Therefore, it is invalid and reductionist to assert the experience of visual pleasure as relates to fame is based on a singular attribute that cannot be empirically established. Attempts to discover adequate methods are not wasted, as the discussion generated by inquiry into the experience of aesthetics offers positive philosophical and critical thinking applications. Furthermore, the promising new frontier for aesthetic research involves utilization of social networking and the Internet as tools

Swarm intelligence approach in detecting spatially-independent symmetries in cellular automata

In late 1940's and with the introduction of cellular automata, various types of problems in computer science and other multidisciplinary fields have started utilising this new technique. The generative capabilities of cellular automata have been used for simulating various natural, physical and chemical phenomena. Aside from these applications, the lattice grid of cellular automata has been providing a by-product interface to generate graphical patterns for digital art creation. One notable aspect of cellular automata is symmetry, detecting of which is often a difficult task and computationally expensive. This paper uses a swarm intelligence algorithm - Stochastic Diffusion Search - to extend and generalise previous works and detect partial symmetries in cellular automata generated patterns. The newly proposed technique tailored to address the spatially-independent symmetry problem is also capable of identifying the absolute point of symmetry (where symmetry holds from all perspectives) in a given pattern. Therefore, along with partially symmetric areas, the centre of symmetry is highlighted through the convergence of the agents of the swarm intelligence algorithm. This technique is potentially applicable in the domain of aesthetic evaluation where symmetry is one of the measures

The Influence of User Interface Attributes on Aesthetics

In this paper we present an empirical study among 40 participants which investigates the relationship between various factors of user interface aesthetics on the one hand, and the influence of the user interface attributes, symmetry, colorfulness as well as visual complexity on user interface aesthetics on the other hand. The user interface aesthetics will be classified in intuitive aesthetics (1st impression with a presentation time of 500 ms) and reflective aesthetics (reflective long-term impression after a longer presentation). Reflective aesthetics is further classified in classical aesthetics (common attractiveness) as well as expressive aesthetics (creativity). For this study we have set up a corpus of 30 websites which are used as stimulus material. In a multi-step lab experiment, participants rate aesthetics and their subjective impression concerning user interface attributes using questionnaires. We are able to show that the intuitive aesthetic judgment correlates strongly with the reflective judgment. The symmetry of a website positively correlates with all definitions of aesthetics, especially with the classical or traditional interpretation in the sense of attractiveness. Visual complexity can be seen as the strongest predictor for the aesthetic judgement of users and it negatively correlates with all definitions. Concerning colorfulness, a preference for websites of a medium degree of colorfulness for the intuitive as well as the classical aesthetics can be stated. Concerning expressive aesthetics, websites of moderate to high colorfulness receive the best judgments. The relationships which we have found are finally discussed in the context of previous research and some implications for future user interface design are given

The psychological bases of visual preference for curvature

[cat] El contorn visual afecta les interaccions entre l’ésser humà i el medi ambient. Confiem en les carac- terístiques del contorn per categoritzar, manipular i avaluar objectes. Preferim objectes amb contorns corbats i associem la curvatura amb sensacions més positives que els contorns angulars. Aquesta prefer- ència es coneix com l’efecte de curvatura i ha estat demostrada en diferents edats, cultures i, fins i tot, espècies. Tot i això, la literatura també mostra que l’efecte es modulat per diversos factors contextuals i de diferències individuals. Aquesta dissertació sintetitza la literatura científica sobre la preferència per la curvatura visual i presenta nova evidència empírica que aborda els possibles factors moduladors de l’efecte. A How universal is preference for visual curvature? A systematic review and meta-analysis, mostrem que la preferència per la curvatura consisteix en un efecte fiable i moderat a la literatura. Tot i això, també mostrem que aquesta preferència coexisteix amb una substancial variabilitat i heterogeneïtat entre estudis. Aquesta variabilitat és consistent amb els efectes moderadors de factors com ara la tasca, el tipus d’estímul, el temps de presentació i l’experiència dels participants. En conjunt, aquestes troballes donen suport a la idea que la preferència per la curvatura està influenciada per factors més enllà de la informació perceptiva. A Circles are detected faster than downward-pointing triangles in a speeded response task, proposem que els contorns corbats capten l’ atenció i es processen més ràpid que els contorns angulosos. Aquesta troballa proporciona un escenari plausible per a l’enllaç entre la sensibilitat perceptiva i la preferència associada a la curvatura. A When symmetric and curved visual contour meet instructions instructions: Hedonic value and preference, mostrem que mentre els contorns corbats i simètrics són característiques de valència positiva, els contorns angulosos i asimètrics són característiques de valència negativa. Aquestes troballes destaquen la naturalesa multidimensional dels estímuls i que la interacció entre les característiques de l’estímul modula les preferències generals de les persones. A Shape familiarity modulates preference for curvature in drawings de common-use objects, mostrem que la familiaritat és un fort predictor de la preferència visual per la curvatura. Tot i això, els nostres resultats també revelen que la familiaritat no és l’únic factor que explica aquesta preferència, atès que l’efecte també és present quan els objectes corbats i angulosos es perceben com igualment familiars. En conjunt, concloem que la familiaritat amb la forma dels objectes modula la preferència per la curvatura. A Humans prefer to see and imagine drawing curved objects, trobem una relació positiva entre el gust i la preferència de producció de dibuixos corbats. Les nostres troballes també donen suport a la idea d’una influència inconsistent de les diferències individuals en la preferència per la curvatura. En resum, aquest treball aporta nova evidència empírica de la preferència per la curvatura visual i proporciona una síntesi quantitativa de la literatura sobre aquest efecte. Destaquem que l’efecte de curvatura és fiable i moderat, i discutim alguns factors que expliquen la variabilitat i heterogeneïtat que coexisteix amb l’efecte. També discutim que les bases neurofisiològiques de la sensibilitat a la curvatura poden emmarcar les bases neurals de la preferència per la curvatura. Per últim, proposem reptes rellevants i adreces futures a la llum de l’augment de l’interès de les humanitats, les ciències ambientals i la neurociència en la preferència per la curvatura visual.[spa] El contorno visual afecta las interacciones entre el ser humano y el medio ambiente. Confiamos en las características del contorno para categorizar, manipular y evaluar objetos. Preferimos objetos con contornos curvos y asociamos la curvatura con sensaciones más positivas que los contornos de ángulos agudos. Esta preferencia se conoce como el efecto de curvatura y ha sido demostrada con diferentes edades, culturas e incluso especies. Sin embargo, la literatura también ha mostrado que el efecto podría ser modulado por varios factores contextuales y de diferencias individuales. Esta disertación sintetiza la literatura científica sobre la preferencia por la curvatura visual y arroja nueva evidencia empírica que aborda los posibles factores moduladores del efecto. En How universal is preference for visual curvature? A systematic review and meta-analysis, mostramos que la preferencia por la curvatura consiste en un efecto fiable y moderado en la literatura. Sin embargo, también mostramos que esta preferencia coexiste con una sustancial variación y hetero- geneidad entre estudios. Esta variación es consistente con los efectos moderadores de factores como la tarea, el tipo de estímulo, el tiempo de presentación y la experiencia. En conjunto, estos hallazgos respaldan la idea de que la preferencia por la curvatura está influenciada por factores más allá de la información perceptiva. En Circles are detected faster than downward-pointing triangles in a speeded response task, proponemos que los contornos curvos captan la atención y se procesan más rápido que los contornos angulosos. Este hallazgo proporciona un escenario plausible para el vínculo entre la sensibilidad perceptiva y la preferencia asociada con la curvatura. En When symmetric and curved visual contour meet intentional instructions: Hedonic value and preference, mostramos que mientras los contornos curvos y simétricos son características de valencia positiva, los contornos angulosos y asimétricos son características de valencia negativa. Estos hallazgos destacan la naturaleza multidimensional de los estímulos y que la interacción entre las características del estímulo modula las preferencias generales de las personas. En Shape familiarity modulates preference for curvature in drawings of common-use objects, mostramos que la familiaridad es un fuerte predictor de la preferencia visual por la curvatura. Sin embargo, nuestros resultados también revelan que la familiaridad no es el único factor que explica esta preferencia, porque el efecto también está presente cuando los objetos curvos y angulosos se perciben como igualmente familiares. En conjunto, concluimos que la familiaridad con la forma de los objetos modula la preferencia por la curvatura. En Humans prefer to see and imagine drawing curved objects, encontramos una relación positiva entre el gusto y la preferencia de producción de dibujos curvos. Nuestros hallazgos también respaldan la idea de una influencia inconsistente de las diferencias individuales en la preferencia por la curvatura. En resumen, este trabajo aporta nueva evidencia empírica de la preferencia por la curvatura visual y proporciona una síntesis cuantitativa de la literatura sobre este efecto. Destacamos que el efecto de curvatura es confiable y moderado, y discutimos algunos factores que explican la varianza y heterogeneidad que coexiste con el efecto. También, discutimos que las bases neurofisiológicas de la sensibilidad a la curvatura pueden enmarcar las bases neurales de la preferencia por la curvatura. Por último, proponemos desafíos relevantes y direcciones futuras a la luz del aumento del interés de las humanidades, las ciencias ambientales y la neurociencia en la preferencia por la curvatura visual.[eng] Visual contour affects human-environment interactions. We rely on contour features to categorize, manipulate, and evaluate objects. We prefer objects with curved contours and associate curvature with more positive feelings than sharp-angled contours. This preference is known as the curvature effect, and has been demonstrated between different ages, cultures, and even species. However, the literature has also shown that the effect could be modulated by various contextual and individual difference factors. This dissertation synthesizes the scientific literature on preference for visual curvature and yields new empirical evidence addressing the possible modulator factors of the effect. In How universal is preference for visual curvature? A systematic review and meta-analysis, we show that preference for curvature consists of a reliable and moderate effect in the literature. However, we also show that this preference coexists with substantial heterogeneity variance between studies. This variance is consistent with the moderating effects of factors such as task, stimulus type, presentation time, and expertise. Together, these findings support the idea that the preference for curvature is influenced by factors other than perceptual information. In Circles are detected faster than downward-pointing triangles in a speeded response task, we propose that curved contours capture attention and are processed faster than angular contours. This finding provides a plausible scenario for the link between perceptual sensitivity and preference associated with curvature. In When symmetric and curved visual contour meet intentional instructions: Hedonic value and preference, we show that while curved and symmetric contours are positive-valenced features, angular and asymmetric contours are negative-valenced features. These findings highlight the multidimensional nature of stimuli, and how the interaction between stimulus features could modulate people’s general preferences. In Shape familiarity modulates preference for curvature in drawings of common-use objects, we show that familiarity is a strong predictor of visual preference for curvature. However, our results also reveal that familiarity is not the only factor explaining this preference, because the effect is also present when curved and angular objects are perceived as equally familiar. Together, we conclude that familiarity with the shape of objects modulates preference for curvature. In Humans prefer to see and imagine drawing curved objects, we find a positive relationship between liking and drawing production preference using curved drawings. Our findings also support the idea of an inconsistent influence of individual differences in preference for curvature. To summarize, this work yields new empirical evidence of preference for visual curvature and provides a quantitative synthesis of the literature on this effect. We highlight the existence of a reliable and moderate effect of preference for curvature, and some factors that could explain the substantial heterogeneity variance that coexists with the effect. We discuss that the neurophysiological bases of curvature sensitivity may frame the neural bases of preference for curvature. Last, we propose relevant challenges and future directions in light of the upsurge of interest from the humanities, environmental science, and neuroscience in preference for visual curvature

What Causes the Dependency between Perceived Aesthetics and Perceived Usability?

Several studies reported a dependency between perceived beauty and perceived usability of a user interface. But it is still not fully clear which psychological mechanism is responsible for this dependency. We suggest a new explanation based on the concept of visual clarity. This concept describes the perception of order, alignment and visual complexity. A high visual clarity supports a fast orientation on an interface and creates an impression of simplicity. Thus, visual clarity will impact usability dimensions, like efficiency and learnability. Visual clarity is also related to classical aesthetics and the fluency effect, thus an impact on the perception of aesthetics is plausible. We present two large studies that show a strong mediator effect of visual clarity on the dependency between perceived aesthetics and perceived usability. These results support the proposed explanation. In addition, we show how visual clarity of a user interface can be evaluated by a new scale embedded in the UEQ+ framework. Construction and first evaluation results of this new scale are described

Aesthetic Automata: Synthesis and Simulation of Aesthetic Behaviour in Cellular Automata

This thesis addresses the computational notion of aesthetics in the framework of multistate two-dimensional cellular automata (2D CA). The measure of complexity is a core concept in computational approaches to aesthetics. Shannon's information theory provided an objective measure of complexity, which led to the emergence of various informational theories of aesthetics. However, entropy fails to take into account the spatial characteristics of 2D patterns; these characteristics are fundamental in addressing the aesthetic problem, in general, and of CA-generated patterns, in particular. This thesis proposes two empirically evaluated alternative measures of complexity, taking into account the spatial characteristics of 2D patterns and experimental studies on human aesthetic perception in the visual domain. The measures are extended to robustly quantify the complexity of multi-state 2D CA-generated patterns. The first model, spatial complexity, is based on the probabilistic spatial distribution of homogeneous/heterogeneous neighbouring cells over the lattice of a multi-state 2D cellular automaton. The second model is based on algorithmic information theory (Kolmogorov complexity) which is extended to estimate the complexity of 2D patterns. The spatial complexity measure presents performance advantage over information-theoretic models, specifically in discriminating symmetries and the orientation in CA-generated patterns, enabling more accurate measurement of complexity in relation to aesthetic evaluations of 2D patterns. A series of experimental stimuli with various structural characteristics and levels of complexity were generated by seeding 3-state 2D CA with different initial configurations for psychological experiments. The results of experimentation demonstrate the presence of correlation between spatial complexity measures and aesthetic judgements of experimental stimuli. The same results were obtained for the estimations of Kolmogorov complexity of experimental stimuli

Marble melancholy: using crossmodal correspondences of shapes, materials, and music to predict music-induced emotions

Introduction: Music is known to elicit strong emotions in listeners, and, if primed appropriately, can give rise to specific and observable crossmodal correspondences. This study aimed to assess two primary objectives: (1) identifying crossmodal correspondences emerging from music-induced emotions, and (2) examining the predictability of music-induced emotions based on the association of music with visual shapes and materials. Methods: To achieve this, 176 participants were asked to associate visual shapes and materials with the emotion classes of the Geneva Music-Induced Affect Checklist scale (GEMIAC) elicited by a set of musical excerpts in an online experiment. Results: Our findings reveal that music-induced emotions and their underlying core affect (i.e., valence and arousal) can be accurately predicted by the joint information of musical excerpt and features of visual shapes and materials associated with these music-induced emotions. Interestingly, valence and arousal induced by music have higher predictability than discrete GEMIAC emotions. Discussion: These results demonstrate the relevance of crossmodal correspondences in studying music-induced emotions. The potential applications of these findings in the fields of sensory interactions design, multisensory experiences and art, as well as digital and sensory marketing are briefly discussed.Peer Reviewe