Preference for fractal-scaling properties across synthetic noise images and artworks

A large number of studies support the notion that synthetic images within a certain intermediate fractal-scaling range possess an intrinsic esthetic value. Interestingly, the fractal-scaling properties that define this intermediate range have also been found to characterize a vast collection of representational, abstract, and graphic art. While some have argued that these statistic properties only serve to maximize the visibility of the artworks' spatial structure, others argue that they are intrinsically tied to the artworks' esthetic appeal. In this study, we bring together these two threads of research and make a direct comparison between visual preference for varying fractal-scaling characteristics in both synthetic images and artworks. Across two studies, viewers ranked and rated sets of synthetic noise images and artworks that systematically varied in fractal dimension for liking, pleasantness, complexity, and interestingness. We analyzed both average and individual patterns of preference between the two image classes. Average preference peaked for intermediate fractal dimension values for both categories, but individual patterns of preferences for both high and low values also emerged. Correlational analyses indicated that individual preferences between the two image classes remained moderately consistent and were improved when the fractal dimensions between synthetic images and artworks were more closely matched. Overall, these findings further support the role of fractal-scaling statistics both as a key determinant of an object's esthetic value and as a valuable predictor of individual differences in esthetic preference

Aesthetics and Psychological Effects of Fractal Based Design

Highly prevalent in nature, fractal patterns possess self-similar components that repeat at varying size scales. The perceptual experience of human-made environments can be impacted with inclusion of these natural patterns. Previous work has demonstrated consistent trends in preference for and complexity estimates of fractal patterns. However, limited information has been gathered on the impact of other visual judgments. Here we examine the aesthetic and perceptual experience of fractal ‘global-forest’ designs already installed in humanmade spaces and demonstrate how fractal pattern components are associated with positive psychological experiences that can be utilized to promote occupant wellbeing. These designs are composite fractal patterns consisting of individual fractal ‘tree-seeds’ which combine to create a ‘global fractal forest.’ The local ‘tree-seed’ patterns, global configuration of tree-seed locations, and overall resulting ‘global-forest’ patterns have fractal qualities. These designs span multiple mediums yet are all intended to lower occupant stress without detracting from the function and overall design of the space. In this series of studies, we first establish divergent relationships between various visual attributes, with pattern complexity, preference, and engagement ratings increasing with fractal complexity compared to ratings of refreshment and relaxation which stay the same or decrease with complexity. Subsequently, we determine that the local constituent fractal (‘tree-seed’) patterns contribute to the perception of the overall fractal design, and address how to balance aesthetic and psychological effects (such as individual experiences of perceived engagement and relaxation) in fractal design installations. This set of studies demonstrates that fractal preference is driven by a balance between increased arousal (desire for engagement and complexity) and decreased tension (desire for relaxation or refreshment). Installations of these composite mid-high complexity ‘global-forest’ patterns consisting of ‘tree-seed’ components balance these contrasting needs, and can serve as a practical implementation of biophilic patterns in human-made environments to promote occupant wellbeing