Visual Affect Around the World: A Large-scale Multilingual Visual Sentiment Ontology

Every culture and language is unique. Our work expressly focuses on the uniqueness of culture and language in relation to human affect, specifically sentiment and emotion semantics, and how they manifest in social multimedia. We develop sets of sentiment- and emotion-polarized visual concepts by adapting semantic structures called adjective-noun pairs, originally introduced by Borth et al. (2013), but in a multilingual context. We propose a new language-dependent method for automatic discovery of these adjective-noun constructs. We show how this pipeline can be applied on a social multimedia platform for the creation of a large-scale multilingual visual sentiment concept ontology (MVSO). Unlike the flat structure in Borth et al. (2013), our unified ontology is organized hierarchically by multilingual clusters of visually detectable nouns and subclusters of emotionally biased versions of these nouns. In addition, we present an image-based prediction task to show how generalizable language-specific models are in a multilingual context. A new, publicly available dataset of >15.6K sentiment-biased visual concepts across 12 languages with language-specific detector banks, >7.36M images and their metadata is also released.Comment: 11 pages, to appear at ACM MM'1

Empathy, engagement, entrainment: the interaction dynamics of aesthetic experience

A recent version of the view that aesthetic experience is based in empathy as inner imitation explains aesthetic experience as the automatic simulation of actions, emotions, and bodily sensations depicted in an artwork by motor neurons in the brain. Criticizing the simulation theory for committing to an erroneous concept of empathy and failing to distinguish regular from aesthetic experiences of art, I advance an alternative, dynamic approach and claim that aesthetic experience is enacted and skillful, based in the recognition of others’ experiences as distinct from one’s own. In combining insights from mainly psychology, phenomenology, and cognitive science, the dynamic approach aims to explain the emergence of aesthetic experience in terms of the reciprocal interaction between viewer and artwork. I argue that aesthetic experience emerges by participatory sense-making and revolves around movement as a means for creating meaning. While entrainment merely plays a preparatory part in this, aesthetic engagement constitutes the phenomenological side of coupling to an artwork and provides the context for exploration, and eventually for moving, seeing, and feeling with art. I submit that aesthetic experience emerges from bodily and emotional engagement with works of art via the complementary processes of the perception–action and motion–emotion loops. The former involves the embodied visual exploration of an artwork in physical space, and progressively structures and organizes visual experience by way of perceptual feedback from body movements made in response to the artwork. The latter concerns the movement qualities and shapes of implicit and explicit bodily responses to an artwork that cue emotion and thereby modulate over-all affect and attitude. The two processes cause the viewer to bodily and emotionally move with and be moved by individual works of art, and consequently to recognize another psychological orientation than her own, which explains how art can cause feelings of insight or awe and disclose aspects of life that are unfamiliar or novel to the viewer

Biophilic architecture: a review of the rationale and outcomes

Contemporary cities have high stress levels, mental health issues, high crime levels and ill health, while the built environment shows increasing problems with urban heat island effects and air and water pollution. Emerging from these concerns is a new set of design principles and practices where nature needs to play a bigger part called “biophilic architecture”. This design approach asserts that humans have an innate connection with nature that can assist to make buildings and cities more effective human abodes. This paper examines the evidence for this innate human psychological and physiological link to nature and then assesses the emerging research supporting the multiple social, environmental and economic benefits of biophilic architecture

The Observing facet of trait mindfulness predicts frequency of aesthetic experiences evoked by the arts

Mindfulness can foster an enhanced sensitivity to internal and external impressions, which could result in heightened subjective responses to works of art. So far though, very little is known about the connection between mindfulness and aesthetic responses to the arts, therefore the current study aimed to investigate whether there was an association between trait mindfulness and how often people report aesthetic experiences. We hypothesized that the Observing facet of mindfulness would positively predict the self-reported frequency of aesthetic experiences (aesthetic chills, feeling touched, and absorption). Participants in an online study (N = 207) completed the Five Factor Mindfulness Questionnaire, an Aesthetic Experiences scale in relation to the area of the arts a participant encountered most frequently in their daily life, and a measure of aesthetic expertise. Controlling for aesthetic expertise and sex, linear regression revealed that the Observing facet of mindfulness was positively associated with aesthetic experience, as predicted. Non-reactivity positively predicted aesthetic experience, while Non-judging was negatively associated with aesthetic experience. Potential explanations for the association between these three facets of trait mindfulness and aesthetic responses are discussed in relation to information-processing models of aesthetic experience. The findings provide preliminary support for the premise that levels of dispositional mindfulness are associated with the frequency of intense emotional responses to the arts, and recommendations for further research studies are outlined

Effective signaling of surface boundaries by L-vertices reflect the consistency of their contrast in natural images

An L-vertex, the point at which two contours coterminate, provides highly reliable evidence that a surface terminates at that vertex, thus providing the strongest constraint on the extraction of shape from images (Guzman, 1968). Such vertices are pervasive in our visual world but the importance of a statistical regularity about them has been underappreciated: The contours defining the vertex are (almost) always of the same direction of contrast with respect to the background (i.e., both darker or both lighter). Here we show that when the two contours are of different directions of contrast, the capacity of the L-vertex to signal the termination of a surface, as reflected in object recognition, is markedly reduced. Although image statistics have been implicated in determining the connectivity in the earliest cortical visual stage (V1) and in grouping during visual search, this finding provides evidence that such statistics are involved in later stages where object representations are derived from two-dimensional images

The Aesthetic Responsiveness Assessment (AReA) in Farsi language: A scale validation and cultural adaptation study.

People differ in their responsiveness to aesthetic experiences. It is important to understand the role of culture in such individual differences, yet existing tools for assessing aesthetic responsiveness largely focus on North American and European cultures. We created a Farsi translated and culturally adapted version of the Aesthetic Responsiveness Assessment (AReA) and evaluated its psychometric properties. Construct validity and internal consistency were evaluated in a sample of 1,586 participants. Moreover, convergent and discriminant validity were investigated using the Behavioral Avoidance/Inhibition Scales (BIS-BAS), Big Five Inventory-2, Barcelona Music Reward Questionnaire (BMRQ), and the Temporal Experience of Pleasure Scale (TEPS). Further, the test–retest reliability of AReA was examined for the first time in a subsample of participants (n = 160) who answered the questionnaire again after 6 months. In addition to an acceptable structural validity (comparative fit index, CFI = .905), the Farsi version of AReA showed good internal consistency. Cronbach’s α for the overall score was .848 and varied between .64 and .81 for subscales. Concerning convergent and discriminant validity, AReA subscales were positively correlated with subscales of TEPS, the Emotion Evocation subscale of BMRQ, Behavioral Avoidance, and Openness, and were unrelated to Behavioral Inhibition, Conscientiousness, and Negative Emotionality. Moreover, AReA subscales showed different patterns of correlations with other questionnaires. Finally, all subscales of AReA showed high test–retest reliability, ranging from .715 to .778. Our results confirm the validity of the Farsi version of AReA and provide a new measure of aesthetic responsiveness, useful in Farsi-speaking communities, which facilitates cross-cultural research in empirical aesthetics. (PsycInfo Database Record (c) 2022 APA, all rights reserved