Fractal Dimensions in Perceptual Color Space: A Comparison Study Using Jackson Pollock's Art

The fractal dimensions of color-specific paint patterns in various Jackson Pollock paintings are calculated using a filtering process which models perceptual response to color differences (\Lab color space). The advantage of the \Lab space filtering method over traditional RGB spaces is that the former is a perceptually-uniform (metric) space, leading to a more consistent definition of ``perceptually different'' colors. It is determined that the RGB filtering method underestimates the perceived fractal dimension of lighter colored patterns but not of darker ones, if the same selection criteria is applied to each. Implications of the findings to Fechner's 'Principle of the Aesthetic Middle' and Berlyne's work on perception of complexity are discussed.Comment: 21 pp LaTeX; two postscript figure

Information dynamics: patterns of expectation and surprise in the perception of music

This is a postprint of an article submitted for consideration in Connection Science © 2009 [copyright Taylor & Francis]; Connection Science is available online at:http://www.tandfonline.com/openurl?genre=article&issn=0954-0091&volume=21&issue=2-3&spage=8

On the perceptual aesthetics of interactive objects

In this paper we measured the aesthetics of interactive objects (IOs), which are three-dimensional physical artefacts that exhibit autonomous behaviour when ‎handled. The aim of the research was threefold: firstly, to investigate whether aesthetic preference for distinctive objects' structures emerges in compound stimulation; secondly, to explore whether there exists aesthetic preference for distinctive objects’ behaviours; and lastly, to test whether there exists aesthetic preference for specific combinations of objects' structures and behaviours. The following variables were systematically manipulated: 1) IOs’ contour (rounded vs. angular); 2) IOs’ size (small vs. large); 3) IOs’ surface texture (rough vs. smooth); and 4) IOs’ behaviour (Lighting, Sounding, Vibrating, and Quiescent). Results show that behaviour was the dominant factor: it influenced aesthetics more than any other characteristic; Vibrating IOs were preferred over Lighting and Sounding IOs, supporting the importance of haptic processing in aesthetics. Results did not confirm the size and smoothness effects previously reported in vision and touch respectively, which suggests that for the aesthetics preference that emerges in isolated conditions may be different in compound stimulation. Finally, results corroborate the smooth curvature effect

Predicting users' first impressions of website aesthetics with a quantification of perceived visual complexity and colorfulness

Users make lasting judgments about a website's appeal within a split second of seeing it for the first time. This first impression is influential enough to later affect their opinions of a site's usability and trustworthiness. In this paper, we demonstrate a means to predict the initial impression of aesthetics based on perceptual models of a website's colorfulness and visual complexity. In an online study, we collected ratings of colorfulness, visual complexity, and visual appeal of a set of 450 websites from 548 volunteers. Based on these data, we developed computational models that accurately measure the perceived visual complexity and colorfulness of website screenshots. In combination with demographic variables such as a user's education level and age, these models explain approximately half of the variance in the ratings of aesthetic appeal given after viewing a website for 500ms only.Engineering and Applied Science

Music listening in everyday life: Devices, selection methods, and digital technology

Two studies considered whether psychological variables could predict everyday music listening practices more than those demographic and technology-related variables studied predominantly hitherto. Study 1 focused on music-listening devices, while Study 2 focused on music selection strategies (e.g. playlists). Study 1 indicated the existence of a one-dimensional identity based on music technology. Further, psychological variables (such as innovativeness and self-efficacy) predicted whether individuals possess such an identity. Moreover, while psychological variables predicted whether individuals preferred ‘familiarized’ advantages inherent to listening devices, a preference for ‘progressive’ advantages was predicted by technological behaviors. Study 2 supported the first study in terms of identity, and demonstrated that a different pattern of variables predicted playlist listening from listening to music via shuffle. More generally, the findings suggest the utility of applying constructs from consumer psychology to everyday music-listening behaviors

Curiosity Killed the Cat, but Makes Crowdwork Better

Crowdsourcing systems are designed to elicit help from humans to accomplish tasks that are still difficult for computers. How to motivate workers to stay longer and/or perform better in crowdsourcing systems is a critical question for designers. Previous work have explored different motivational frameworks, both extrinsic and intrinsic. In this work, we examine the potential for curiosity as a new type of intrinsic motivational driver to incentivize crowd workers. We design crowdsourcing task interfaces that explicitly incorporate mechanisms to induce curiosity and conduct a set of experiments on Amazon’s Mechanical Turk. Our experiment results show that curiosity interventions improve worker retention without degrading performance, and the magnitude of the effects are influenced by both the personal characteristics of the worker and the nature of the task.Engineering and Applied Science

Revisiting the exercise heart rate-music tempo preference relationship

In the present study, we investigated a hypothesized quartic relationship (meaning three inflection points) between exercise heart rate (HR) and preferred music tempo. Initial theoretical predictions suggested a positive linear relationship (Iwanaga, 1995a, 1995b); however, recent experimental work has shown that as exercise HR increases, step changes and plateaus that punctuate the profile of music tempo preference may occur (Karageorghis, Jones, & Stuart, 2008). Tempi bands consisted of slow (95–100 bpm), medium (115–120 bpm), fast (135–140 bpm), and very fast (155–160 bpm) music. Twenty-eight active undergraduate students cycled at exercise intensities representing 40, 50, 60, 70, 80, and 90% of their maximal HR reserve while their music preference was assessed using a 10-point scale. The Exercise Intensity x Music Tempo interaction was significant, F(6.16, 160.05) = 7.08, p < .001, ηp 2 =.21, as was the test for both cubic and quartic trajectories in the exercise HR–preferred-music-tempo relationship (p < .001). Whereas slow tempo music was not preferred at any exercise intensity, preference for fast tempo increased, relative to medium and very fast tempo music, as exercise intensity increased. The implications for the prescription of music in exercise and physical activity contexts are discussed

A New Framework for Understanding Memories and Preference for Music

What can musical memories tell us about preference, and what can musical preferences tell us about memory? In this article we contrast the two perspectives using a dialogic conversation, drawing on insights brought into relief at the recent Music and Lifetime Memories conference. We use dialogue to present two different bodies of relevant background literature and theory and consider their overlaps, interactions, and contradictions in depth. We then compare our two different approaches to the same dataset – the Desert Island Discs archive – which provide complementary perspectives and insights. We interpret each other’s analyses from our own perspectives, and finally conclude with reflections on future directions for the field

The Mere Exposure Effect in the Domain of Haptics

Background: Zajonc showed that the attitude towards stimuli that one had been previously exposed to is more positive than towards novel stimuli. This mere exposure effect (MEE) has been tested extensively using various visual stimuli. Research on the MEE is sparse, however, for other sensory modalities. Methodology/Principal Findings: We used objects of two material categories (stone and wood) and two complexity levels (simple and complex) to test the influence of exposure frequency (F0 = novel stimuli, F2 = stimuli exposed twice, F10 = stimuli exposed ten times) under two sensory modalities (haptics only and haptics &amp; vision). Effects of exposure frequency were found for high complex stimuli with significantly increasing liking from F0 to F2 and F10, but only for the stone category. Analysis of ‘‘Need for Touch’ ’ data showed the MEE in participants with high need for touch, which suggests different sensitivity or saturation levels of MEE. Conclusions/Significance: This different sensitivity or saturation levels might also reflect the effects of expertise on the haptic evaluation of objects. It seems that haptic and cross-modal MEEs are influenced by factors similar to those in the visual domain indicating a common cognitive basis