Beauty, elegance, grace, and sexiness compared

Beauty is the single most frequently and most broadly used aesthetic virtue term. The present study aimed at providing higher conceptual resolution to the broader notion of beauty by comparing it with three closely related aesthetically evaluative concepts which are likewise lexicalized across many languages: elegance, grace(fulness), and sexiness. We administered a variety of questionnaires that targeted perceptual qualia, cognitive and affective evaluations, as well as specific object properties that are associated with beauty, elegance, grace, and sexiness in personal looks, movements, objects of design, and other domains. This allowed us to reveal distinct and highly nuanced profiles of how a beautiful, elegant, graceful, and sexy appearance is subjectively perceived. As aesthetics is all about nuances, the fine-grained conceptual analysis of the four target concepts of our study provides crucial distinctions for future research

What the eyes reveal about (reading) poetry

This study investigated how rhyme and meter affect eye movements and subjective aesthetic evaluations while reading poems. Earlier findings suggest that the effects might include prosodic predictability-driven cognitive and affective rewards from increased processing fluency (Blohm, Wagner, Schlesewsky and Menninghaus, 2018, McGlone and Tofighbakhsh, 2000), but also semantic and syntactic disfluency, as rhyme and meter are often implemented at the expense of unusual word forms and word order (Menninghaus et al., 2015, Wallot and Menninghaus, 2018). This study set out to investigate the extent to which eye movements might reveal not only distinct effects of fluency and disfluency at the same time, but potentially also hedonic responses that are associated with longer rather than shorter self-motivated exposure, in line with the hypothesis of “savoring” (Frijda and Sundararajan, 2007). The results reveal several fluency-enhancing effects of rhyme and meter on reading times for more global features of the poems, but also increased disfluency effects on gaze durations for some more local features of the poems. Moreover, some of the latter effects are readily interpretable in terms of the savoring hypothesis. Eye movement characteristics that were predictive of higher aesthetic evaluation—irrespective of the presence or absence of rhyme and meter—similarly resulted in increased fluency, disfluency, and savoring effects. Our study thus reveals, for the first time, a complex picture of effects that co-occur while reading poetic prosody, based on analyzing different dimensions of a single psychophysiological variable, namely, eye movements

Aesthetic Appreciation of Joyful and Sad Poems

Artworks with sad and affectively negative content have repeatedly been reported to elicit positive aesthetic appreciation. This topic has received much attention both in the history of poetics and aesthetics as well as in recent studies on sad films and sad music. However, poetry and aesthetic evaluations of joyful and sad poetry have received only little attention in empirical studies to date. We collected beauty and liking ratings for 24 sad and 24 joyful poems from 128 participants. Following previous studies, we computed an integrated measure for overall aesthetic appreciation based on the beauty and liking ratings to test for differences in appreciation between joyful and sad poems. Further, we tested whether readers’ responses are related to their affinity for poetry. Results show that sad poems are rated significantly higher for aesthetic appreciation than joyful poems, and that aesthetic appreciation is influenced by the participants’ affinity for poetry

Why and how should cognitive science care about aesthetics?

Empirical aesthetics has found its way into mainstream cognitive science. Until now, most research has focused either on identifying the internal processes that underlie a perceiver’s aesthetic experience or on identifying the stimulus features that lead to a specific type of aesthetic experience. To progress, empirical aesthetics must integrate these approaches into a unified paradigm that encourages researchers to think in terms of temporal dynamics and interactions between: (i) the stimulus and the perceiver; (ii) different systems within the perceiver; and (iii) different layers of the stimulus. At this critical moment, empirical aesthetics must also clearly identify and define its key concepts, sketch out its agenda, and specify its approach to grow into a coherent and distinct discipline

The eye tracks the aesthetic appeal of sentences

Abstract Eye-tracking parameters (fixation and pupillary responses) have been shown to be modulated by the aesthetic perception and evaluation of visual and auditory artworks (e.g., paintings, music). The present study investigated whether similar effects can be found in visual text processing. Participants read four groups of short sentences in which a key predictor of aesthetic liking, i.e., familiarity, was systematically modified to four degrees. Across all four groups, the sentences moreover varied with regard to featuring or not featuring meter. During reading, pupil sizes and eye movements were recorded. Aesthetic ratings of all sentences were collected afterwards, and the relationships between the ratings, levels of familiarity, meter, and eye-tracking datasets were tested. The results showed that the rating scores were interactively modulated by both familiarity-driven and meter-driven fluency. Using factor analysis, we extracted two key factors of the aesthetic appeal of the texts: an affective and a cognitive factor. The cognitive factor comprised the rating items “succinctness” and “familiarity,” whereas the affective factor reflected the ratings for “beauty” and “liking.” A higher cognitive factor predicted shorter dwelling time. Moreover, the two factors modulated the pupillary data antagonistically: A higher affective factor predicted larger pupil dilations, whereas a higher cognitive factor predicted smaller pupil dilations. The study shows a possible application of the eye-tracking method for capturing aesthetically evaluative dimensions of processing sentences

Cognitive Science

Abstract Research on the relation between sound and meaning in language has reported substantial evidence for implicit associations between articulatory?acoustic characteristics of phonemes and emotions. In the present study, we specifically tested the relation between the acoustic properties of a text and its emotional tone as perceived by readers. To this end, we asked participants to assess the emotional tone of single stanzas extracted from a large variety of poems. The selected stanzas had either an extremely high, a neutral, or an extremely low average formant dispersion. To assess the average formant dispersion per stanza, all words were phonetically transcribed and the distance between the first and second formant per vowel was calculated. Building on a long tradition of research on associations between sound frequency on the one hand and non-acoustic concepts such as size, strength, or happiness on the other hand, we hypothesized that stanzas with an extremely high average formant dispersion would be rated lower on items referring to Potency (dominance) and higher on items referring to Activity (arousal) and Evaluation (emotional valence). The results confirmed our hypotheses for the dimensions of Potency and Evaluation, but not for the dimension of Activity. We conclude that, at least in poetic language, extreme values of acoustic features of vowels are a significant predictor for the emotional tone of a text

Who reads contemporary erotic novels and why?

In the wake of EL James’s series Fifty Shades of Grey, the book market has seen a veritable surge of bestselling erotic novels over the past decade. The online study reported here pursued two questions: (1) Who reads these erotic novels? (2) What are the reasons underlying this preference? Most of the readers of erotic novels that responded to our survey are heterosexual women in committed relationships. They are highly educated, from a broad age span, describe themselves as avid readers and like to share their reading experiences with others. Distraction and feelings of ease were identified as prime rewards associated with reading erotic novels. The sexual explicitness of the novels and their potential to provide guidance in life also play a role, yet turned out to be less important than suggested in previous research. Contrary to critical opinion, our participants consider erotic novels––at least to a certain degree–to be emancipated, feminist, and progressive. We relate this finding primarily to the surveyed participants’ rather traditional beliefs regarding gender roles. Our study is the first to explore empirically the readership and the reading rewards underlying a current large-scale cultural phenomenon, emphasizing the need for future investigations off the literary canon

Contiguity-based sound iconicity: The meaning of words resonates with phonetic properties of their immediate verbal contexts

We tested the hypothesis that phonosemantic iconicity––i.e., a motivated resonance of sound and meaning––might not only be found on the level of individual words or entire texts, but also in word combinations such that the meaning of a target word is iconically expressed, or highlighted, in the phonetic properties of its immediate verbal context. To this end, we extracted single lines from German poems that all include a word designating high or low dominance, such as large or small, strong or weak, etc. Based on insights from previous studies, we expected to find more vowels with a relatively short distance between the first two formants (low formant dispersion) in the immediate context of words expressing high physical or social dominance than in the context of words expressing low dominance. Our findings support this hypothesis, suggesting that neighboring words can form iconic dyads in which the meaning of one word is sound-iconically reflected in the phonetic properties of adjacent words. The construct of a contiguity-based phono-semantic iconicity opens many venues for future research well beyond lines extracted from poems

Lay conceptions of “being moved” (“bewegt sein”) include a joyful and a sad type: Implications for theory and research

Being moved has received increased attention in emotion psychology as a social emotion that fosters bonds between individuals and within communities. This increased attention, however, has also sparked debates about whether the term “being moved” refers to a single distinct profile of emotion components or rather to a range of different emotion profiles. We addressed this question by investigating lay conceptions of the emotion components (i.e., elicitors, cognitive appraisals, subjective feelings, bodily symptoms, and consequences for thought/action) of “bewegt sein” (the German term for “being moved”). Participants (N = 106) provided written descriptions of both a moving personal experience and their conceptual prototype of “being moved,” which were subjected to content analysis to obtain quantitative data for statistical analyses. Based on latent class analyses, we identified two classes for both the personal experiences (joyfully-moved and sadly-moved classes) and the being-moved prototype (basic-description and extended-description classes). Being joyfully moved occurred when social values and positive relationship experiences were salient. Being sadly moved was elicited by predominantly negative relationship experiences and negatively salient social values. For both classes, the most frequently reported consequences for thought/action were continued cognitive engagement, finding meaning, and increased valuation of and striving for connectedness/prosociality. Basic descriptions of the prototype included “being moved” by positive or negative events as instances of the same emotion, with participants in the extended-description class also reporting joy and sadness as associated emotions. Based on our findings and additional theoretical considerations, we propose that the term “being moved” designates an emotion with an overall positive valence that typically includes blends of positively and negatively valenced emotion components, in which especially the weight of the negative components varies. The emotion’s unifying core is that it involves feeling the importance of individuals, social entities, and abstract social values as sources of meaning in one’s life