Processing Fluency, Aesthetic Pleasure, and Culturally Shared Taste

Aesthetic Science: Connecting Minds, Brains, and Experience

Volumn , Issue , 2012, Pages

  Reber, Rolf ^a  

^a UNIVERSITY OF BERGEN   (Norway)

Author keywords

Aesthetics; Art; Culture; Perception; Perceptual fluency; Pleasure

Indexed keywords

EID: 84921775736     PISSN: None     EISSN: None     Source Type: Book    
DOI: 10.1093/acprof:oso/9780199732142.003.0055     Document Type: Chapter

References (165)

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11. For different kinds of aesthetic judgment, see Parsons, M. J. (1987). How we understand art. Cambridge: Cambridge University Press.
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15. Reber, R., Schwarz, N., & Winkielman, P. (2004). Processing fluency and aesthetic pleasure: is beauty in the perceiver's processing experience? Personality and Social Psychology Review, 8, 364-382.
16. See Armstrong, T., & Detweiler-Bedell, B. (2008). Beauty as an emotion: the exhilarating prospect of mastering a challenging world. Review of General Psychology, 12, 305-329;
17. for emotions in reading literature, see Feagin, S. L. (1996). Reading with feeling: the aesthetics of appreciation. Ithaca, NY: Cornell University Press; for emotions in music
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19. for emotions in visual art, see Silvia, P. J. (2005). Emotional responses to art: from collation and arousal to cognition and emotion. Review of General Psychology, 9, 342-357.
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23. For a discussion of disinterestedness, see Arthur P. Shimamura, Chapter 1 in this book.
24. For a discussion of the assessment of perceptual fluency, see Reber, R., Wurtz, P., & Zimmermann, T. D. (2004). Exploring fringe consciousness: the subjective experience of perceptual fluency and its objective bases. Consciousness and Cognition, 13, 47-60.
25. Reber, R., & Schwarz, N. (2006). Perceptual fluency, preference, and evolution. Polish Psychological Bulletin, 37, 16-22. Moreover, in a symmetry detection task, vertical symmetry was detected faster than horizontal symmetry, which, in turn, was detected faster than vertical symmetry;
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35. See Reber, R., Winkielman, P., & Schwarz, N. (1998). Effects of perceptual fluency on affective judgments. Psychological Science, 9, 45-48.
36. Bar, M., & Neta, M. (2006). Humans prefer curved visual objects. Psychological Science, 17, 645-648;
37. Reber, R., & Schwarz, N. (2006). Perceptual fluency, preference, and evolution. Polish Psychological Bulletin, 37, 16-22.
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44. Song, H., & Schwarz, N. (2008). Fluency and the detection of misleading questions: low processing fluency attenuates the Moses illusion. Social Cognition, 26, 791-799.
45. For a similar study, see Alter, A. L., Oppenheimer, D. M., Epley, N., & Eyre, R. N. (2007). Overcoming intuition: metacognitive difficulty activates analytic reasoning. Journal of Experimental Psychology: General, 136, 569-576.
46. Reber, R., & Schwarz, N. (1999). Effects of perceptual fluency on judgments of truth. Consciousness and Cognition, 8, 338-342.
47. Reber, R., Brun, M., & Mitterndorfer, K. (2008). The use of heuristics in intuitive mathematical judgment. Psychonomic Bulletin & Review, 15, 1174-1178.
48. For a detailed discussion of these points, see Reber, R., Schwarz, N., & Winkielman, P. (2004). Processing fluency and aesthetic pleasure: is beauty in the perceiver's processing experience? Personality and Social Psychology Review, 8, 364-382.
49. Hansen, J., Dechêne, A., & Wänke, M. (2008). Discrepant fluency increases subjective truth. Journal of Experimental Social Psychology, 44, 687-691.
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51. Fechner, G. T. (1876). Vorschule der Ästhetik. Leipzig, Germany: Breitkopf & Härtel [online]. Available at: http://gutenberg.spiegel.de/fechner/vaestht1/vaesthi1.htm. Accessed September 23, 2009.
52. Boselie, F. (1992). The Golden Section has no special aesthetic attractivity. Empirical Studies of the Arts, 10, 1-18;
53. Höge, H. (1997). The golden section hypothesis-its last funeral. Empirical Studies of the Arts, 15, 233-255.
54. McWhinnie, H. J. (1965). A review of some research on aesthetic measure and perceptual choice. Studies in Art Education, 6, 34-41.
55. Birkhoff, G. D. Aesthetic Measure. Cambridge, MA: Harvard University Press.
56. Eysenck, H. J. (1941). The empirical determination of an empirical formula. Psychological Review, 48, 83-92.
57. Eysenck, H. J. (1942). The experimental study of the 'Good Gestalt'-a new approach. Psychological Review, 49, 358.
58. McWhinnie, H. J. (1965). A review of some research on aesthetic measure and perceptual choice. Studies in Art Education, 6, 34-41.
59. McWhinnie, H. J. (1965). A review of some research on aesthetic measure and perceptual choice. Studies in Art Education, 6, 34-41.
60. Plumhoff, J. E., & Schirillo, J. A. (2009). Mondrian, eye movements, and the oblique effect. Perception, 38, 719-731.
61. Zajonc, R. B. (1968). Attitudinal effects of mere exposure. Journal of Personality and Social Psychology, Monograph Supplement, 9, 1-27.
62. Cutting, J. E. (2003). Gustave Caillebotte, French Impressionism, and mere exposure, Psychonomic Bulletin & Review, 10, 319-343;
63. Gaver, W. W., & Mandler, G. (1987). Play it again, Sam: on liking music. Cognition and Emotion, 1, 259-282.
64. Kuhn, G., & Dienes, Z. (2005). Implicit learning of non-local musical rules. Journal of Experimental Psychology: Learning, Memory, & Cognition, 31, 1417-1432.
65. For the anecdote about Weyl: Chandrasekhar, S. (1987). Truth and beauty: aesthetics and motivations in science (p. 65f). Chicago: University of Chicago Press; for beauty and truth in mathematics
66. see Hadamard, J. (1954). The psychology of invention in the mathematical field. Mineola, NY: Dover;
67. Stewart, I. (2007). Why beauty is truth: a history of symmetry. New York: Basic Books.
68. Dewey, J. (1934/2005). Art as experience (p. 4). New York: Perigee.
69. For examples, Lee, A. Y., & Labroo, A. A. (2004). The effect of conceptual and perceptual fluency on brand evaluation. Journal of Marketing Research, 41, 151-165;
70. Janiszewski, C., & Meyvis, T. (2001). Effects of brand logo complexity, repetition, and spacing on processing fluency and judgment. Journal of Consumer Research, 28, 18-32.
71. Alter, A. L., & Oppenheimer, D. M. (2006). Predicting short-term stock fluctuations by using processing fluency. Proceedings of the National Academy of Sciences of the U S A, 103, 9369-9372.
72. Hodgson, D. (2009). Symmetry and humans: reply to Mithen's 'sexy handaxe theory.' Antiquity, 83, 195-198;
73. Reber, R. (2002). Reasons for preference for symmetry. Behavioral and Brain Sciences, 25, 415-416;
74. Reber, R., Brun, M., & Mitterndorfer, K. (2008). The use of heuristics in intuitive mathematical judgment. Psychonomic Bulletin & Review, 15, 1174-1178.
75. Bar, M., & Neta, M. (2006). Humans prefer curved visual objects. Psychological Science, 17, 645-648.
76. See Reber, R., Wurtz, P., & Zimmermann, T. D. (2004). Exploring fringe consciousness: the subjective experience of perceptual fluency and its objective bases. Consciousness and Cognition, 13, 47-60.
77. Reber, R., & Schwarz, N. (2006). Perceptual fluency, preference, and evolution. Polish Psychological Bulletin, 37, 16-22.
78. Tinio, P. P. L., & Leder, H. (2009). Natural scenes are indeed preferred, but image quality might have the last word. Psychology of Aesthetics, Creativity, and the Arts, 3, 52-56.
79. As discussed above, prototypicality has an effect in addition to the fluency effect; see Winkielman, P., Halberstadt, J., Fazendeiro, T., & Catty, S. (2006). Prototypes are attractive because they are easy on the mind. Psychological Science, 17, 799-806.
80. Van den Bergh, O., & Vrana, S. R. (1998). Repetition and boredom in a perceptual fluency/attributional model of affective judgments. Cognition and Emotion, 12, 533-553.
81. For the inverted-U-shaped function, see Berlyne, D. E. (1971). Aesthetics and psychobiology. New York: Appleton-Century-Crofts.
82. Van den Bergh, O., & Vrana, S. R. (1998). Repetition and boredom in a perceptual fluency/attributional model of affective judgments. Cognition and Emotion, 12, 533-553;
83. for the explanation of the inverted-U-shaped complexity-preference function, see Reber, R., Schwarz, N., & Winkielman, P. (2004). Processing fluency and aesthetic pleasure: is beauty in the perceiver's processing experience? Personality and Social Psychology Review, 8, 373.
84. Zajonc, R. B., Markus, H., & Wilson, W. R. (1974). Exposure effects and associative learning, Journal of Experimental Social Psychology, 10, 248-263.
85. For example, Brickman, P., Redfield, J., Harrison, A. A., & Crandall, R. (1972). Drive and predisposition as factors in the attitudinal effects of mere exposure. Journal of Experimental Social Psychology, 8, 31-44;
86. for a summary, see Reber, R., Schwarz, N., & Winkielman, P. (2004). Processing fluency and aesthetic pleasure: is beauty in the perceiver's processing experience? Personality and Social Psychology Review, 8, 374f.
87. Halberstadt, J. (2006). The generality and ultimate origins of the attractiveness of prototypes. Personality and Social Psychology Review, 10, 166-183.
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89. see Plumhoff, J. E., & Schirillo, J. A. (2009). Mondrian, eye movements, and the oblique effect. Perception, 38, 719-731.
90. Meyer, L. B. (1956). Emotion and meaning in music. Chicago: University of Chicago Press;
91. Huron, D. (2006). Sweet anticipation: music and the psychology of expectation. Cambridge, MA: MIT Press.
92. Huron, D. (2006). Sweet anticipation: music and the psychology of expectation (p. 269). Cambridge, MA: MIT Press.
93. Neisser, U. (1976) Cognition and reality: principles and implications of cognitive psychology. New York: Freeman.
94. For example, Fenske, M. J., Raymond, J. E, & Kunar, M. (2004). The affective consequences of visual attention in preview search. Psychonomic Bulletin & Review, 11, 1055-1061;
95. Goolsby, B. A., Shapiro, K. L., & Raymond, J. E. (2009). Distractor devaluation requires visual working memory. Psychonomic Bulletin & Review, 16, 133-138.
96. Fenske, M. J., Raymond, J. E, & Kunar, M. (2004). The affective consequences of visual attention in preview search. Psychonomic Bulletin & Review, 11, 1055-1061.
97. Zajonc, R. B. (1968). Attitudinal effects of mere exposure. Journal of Personality and Social Psychology, Monograph Supplement, 9, 1-27.
98. Griffiths, O., & Mitchell, C. J. (2008). Negative priming reduces affective ratings. Cognition and Emotion, 22, 1119-1129.
99. But see Goolsby, B. A., Shapiro, K. L., & Raymond, J. E. (2009). Distractor devaluation requires visual working memory. Psychonomic Bulletin & Review, 16, 133-138.
100. For theories of perceptual processing of art, see Kubovy, M. (1986). The psychology of perspective and Renaissance art. Cambridge, England: Cambridge University Press;
101. Leder, H., Belke, B., Oeberst, A., & Augustin, D. (2004). A model of aesthetic appreciation and aesthetic judgments. British Journal of Psychology, 95, 489-508.
102. Ramachandran, V. S., & Hirstein, W. (1999). The science of art: a neurological theory of aesthetic experience. Journal of Consciousness Studies, 6, 15-51;
103. Zeki, S. (1999). Inner vision: an exploration of art and the brain. Oxford: Oxford University Press.
104. Biederman, I., & Vessel, E. A. (May/June 2006). Perceptual pleasure and the brain. American Scientist, 94, 249-255.
105. For examples, see Hyman, J. (August 5-11, 2006). In search of the big picture. New Scientist, 191, 44-46;
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107. see also V. Bergeron & D. McIver Lopes, Chapter 3 in this book.
108. Gombrich, E. H. (2000). Concerning 'the science of art': commentary on Ramachandran and Hirstein. Journal of Consciousness Studies, 7, 17.
109. Some philosophers claim that there is no such thing as aesthetic experience, most prominently Dickie, G. (1964). The myth of the aesthetic attitude. American Philosophical Quarterly, 1, 56-65;
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115. Hyman, J. (August 5-11, 2006). In search of the big picture. New Scientist, 191, 44-46;
116. Lopes, D. M. (2002). Review of Inner vision: an exploration of art and the brain by Semir Zeki. Journal of Aesthetics and Art Critics, 60, 365-366.
117. Gombrich, E. H. (2000). Concerning 'the science of art': commentary on Ramachandran and Hirstein. Journal of Consciousness Studies, 7, 17.
118. Ramachandran, V. S., & Hirstein, W. (1999). The science of art: a neurological theory of aesthetic experience. Journal of Consciousness Studies, 6, 15-51;
119. Zeki, S. (1999). Inner vision: an exploration of art and the brain. Oxford: Oxford University Press.
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121. Carroll, N. (2002). Aesthetic experience revisited. British Journal of Aesthetics, 42, 145-168;
122. see also B. Gopnik, Chapter 6 in this book.
123. Bullot, N. J. (2009). Material anamnesis and the prompting of aesthetic worlds: the psycho-historical theory of artworks. Journal of Consciousness Studies, 16, 85-109.
124. Bullot, N., & Reber, R. (submitted). The Artful Mind Meets Art History: Toward a Psycho-Historical Framework for the Cognitive Science of Art.
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126. see Hood, B. M., & Bloom, P. (2008). Children prefer certain individuals over perfect duplicates. Cognition, 106, 455-462.
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132. Alter, A. L., Oppenheimer, D. M., Epley, N., & Eyre, R. N. (2007). Overcoming intuition: metacognitive difficulty activates analytic reasoning. Journal of Experimental Psychology: General, 136, 569-576;
133. Song, H., & Schwarz, N. (2008). Fluency and the detection of misleading questions: low processing fluency attenuates the Moses illusion. Social Cognition, 26, 791-799.
134. Brecht, B. (1964). Brecht on theatre: the development of an aesthetic [Ed. and trans. J. Willett]. London: Methuen;
135. Shklovskij, V. (2004). Art as technique. In J. Rivkin & M. Ryan (Eds)., Literary theory: an anthology (pp. 15-21). Malden: Blackwell.
136. Brecht, B. (1964). Brecht on theatre: the development of an aesthetic [Ed. and trans. J. Willett, p. 174]. London: Methuen Brecht.
137. Silvia, P. J. (2005). Emotional responses to art: from collation and arousal to cognition and emotion. Review of General Psychology, 9, 342-357.
138. Takahashi, S. (1995). Aesthetic properties of pictorial perception. Psychological Review, 102, 671-683.
139. Zentner, M. R., & Kagan, J. (1996). Perception of music by infants. Nature, 383, 29.
140. For a discussion, see Reber, R., Schwarz, N., & Winkielman, P. (2004). Processing fluency and aesthetic pleasure: is beauty in the perceiver's processing experience? Personality and Social Psychology Review, 8, 364-382.
141. Bourdieu, P. (1985). Distinction: a social critique of the judgment of taste [trans. R. Nice]. Cambridge, MA: Harvard University Press.
142. Bourdieu, P. (1985). Chapter 3 in Distinction: a social critique of the judgment of taste [trans. R. Nice]. Cambridge, MA: Harvard University Press.
143. Bourdieu, P. (1985). Distinction: a social critique of the judgment of taste [trans. R. Nice, p. 498ff]. Cambridge, MA: Harvard University Press.
144. Bourdieu, P. (1985). Distinction: a social critique of the judgment of taste [trans. R. Nice, p. 74]. Cambridge, MA: Harvard University Press.
145. see Crozier, W. R., & Chapman, A. J. (1981). Aesthetic preferences, prestige, and social class. In D. O'Hare (Ed.), Psychology and the arts. Brighton: Harvester.
146. Bourdieu, P. (1985). Chapter 6 in Distinction: a social critique of the judgment of taste [trans. R. Nice]. Cambridge, MA: Harvard University Press.
147. Reber, R. (2008). Art in its experience: can empirical psychology help assess artistic value? Leonardo, 41, 367-372.
148. Bourdieu, P. (1985). Distinction: a social critique of the judgment of taste [trans. R. Nice, p. 75]. Cambridge, MA: Harvard University Press.
149. Bourdieu, P. (1985). Distinction: a social critique of the judgment of taste [trans. R. Nice, pp. 74 and 328ff.]. Cambridge, MA: Harvard University Press;
150. see Cutting, J. E. (2003). Gustave Caillebotte, French Impressionism, and mere exposure, Psychonomic Bulletin & Review, 10, 319-343.
151. For a recent discussion, see Oyserman, D. (2009). Identity-based motivation: implications for action-readiness, procedural-readiness, and consumer behaviour. Journal of Consumer Psychology, 19, 276-279.
152. see Chartrand, T. L., & Bargh, J. A. (1999). The chameleon effect: the perception-behavior link and social interaction. Journal of Personality and Social Psychology, 76, 893-910.
153. Berscheid, E., & Walster, E. H. (1978). Interpersonal attraction (2nd ed.). Reading, MA: Addison-Wesley.
154. Stel, M., et al. (2010). Mimicking disliked others: effects of a priori liking on the mimicry-liking link. European Journal of Social Psychology, 40(5), 867-880.
155. Bourdieu, P. (1985). Distinction: a social critique of the judgment of taste [trans. R. Nice, p. 74]. Cambridge, MA: Harvard University Press.
156. Biederman, I., & Vessel, E. A. (May/June 2006). Perceptual pleasure and the brain. American Scientist, 94, 249-255.
157. Armstrong, T., & Detweiler-Bedell, B. (2008). Beauty as an emotion: the exhilarating prospect of mastering a challenging world. Review of General Psychology, 12, 305-329;
158. Feagin, S. L. (1996). Reading with feeling: the aesthetics of appreciation. Ithaca, NY: Cornell University Press;
159. Juslin, P. N., & Västfjäll, D. (2008). Emotional responses to music: the need to consider underlying mechanisms. Behavioral and Brain Sciences, 31, 559-575;
160. Silvia, P. J. (2005). Emotional responses to art: from collation and arousal to cognition and emotion. Review of General Psychology, 9, 342-357.
161. For a sketch of such a framework, see Jacobsen, T. (2006). Bridging the arts and sciences: a framework for the psychology of aesthetics. Leonardo, 39, 155-162.
162. For a review of recent research, see Oppenheimer, D. M. (2008). The secret life of fluency. Trends in Cognitive Sciences, 12, 237-241.
163. Reber, R., & Schwarz, N. (1999). Effects of perceptual fluency on judgments of truth. Consciousness and Cognition, 8, 338-342.
164. Laham, S. M., Alter, A. L., & Goodwin, G. P. (2009). Easy on the mind, easy on the wrongdoer: discrepantly fluent violations are deemed less morally wrong. Cognition, 112, 462-466.
165. Schwarz, N., & Clore, G. L. (2007). Feelings and phenomenal experiences. In E. T. Higgins & A. W. Kruglanski (Eds.), Social psychology: handbook of basic principles (2nd ed., pp. 385-407). New York: Guilford.