Psychology of Aesthetics, Creativity and the Arts

Development and validation of the Mechanisms of Engagement in the Arts and Humanities scales.
There is substantial interest among psychologists in the psychological processes of engaging arts and humanities. Despite this, there is still a need for methodological tools to investigate the psychological mechanisms through which engagement in arts and humanities enhances individual well-being. Using four rounds of data collection (including one retest), we document the development and validation of the scales measuring each of the five theorized mechanisms: reflection, acquisition, immersion, socialization, and expression. Using exploratory and confirmatory factor analyses, we found a three-factor structure for reflection (life/worldview, emotional, and external), and six-factor for acquisition (vicarious experience, direct encouragement, social persuasion, experience of mastery—ability, experience of mastery—success, and positive physiological response), two-factor structure for immersion (effort and passage of time), three-factor for socialization (relationships, identity, conversation), and one-factor structure for expression. We also reported measurement invariance in mechanisms of engagements in arts vs. humanities and between males and females and over time. The measure demonstrated predictive and concurrent validity for flourishing outcomes, good test–retest reliability, and measurement equivalence across gender, between arts and humanities, and over time. (PsycInfo Database Record (c) 2024 APA, all rights reserved)
Reliability and validity of a novel Ambulatory Battery of Creativity (ABC).
Creative ideation constitutes an important human skill to develop innovative solutions in science and technology and to overcome daily challenges. Although creative ideation takes place in everyday life situations, the moment-to-moment dynamics of creative ideation performance has not been intensively investigated so far. Fortunately, well-developed methods exist to assess creative ideation performance in controlled settings that can be adopted for assessments in real-life contexts. In the present field-study, a novel Ambulatory Battery of Creativity (ABC) was applied to a sample of 77 participants for 5 days. Each day, participants had to complete 12 randomly presented items of two divergent thinking tasks—half in the verbal and half in the figural domain. Psychometric analyses indicated good between-person (≥ .84) and within-person (≥ .70) reliability. Furthermore, between-person and within-person validity evidence of the ABC was obtained. This study constitutes a first attempt to develop a reliable and valid ABC to measure both individual differences and moment-to-moment fluctuations of creative ideation performance in everyday life. (PsycInfo Database Record (c) 2024 APA, all rights reserved)
All that glitters is gold: Development and validation of the Product Aesthetics Inventory (PAI).
Aesthetics is essential to the design of products. Nevertheless, aesthetic quality is often assessed with inaccurate, ad hoc scales. Therefore, we have developed the Product Aesthetics Inventory (PAI) and its short version, the PAI-S. A Pre-Study using face-to-face interviews (N = 6 design experts, N = 4 product users) served as basis for the development of test items. The resulting item battery was then used by N = 6,002 persons in an online survey to evaluate various types of household appliances. In Study 1, n = 3,000 of those participants’ data were used to determine the number of product aesthetics factors and to select the optimal items by combining exploratory graph analysis (EGA) and confirmatory factor analysis (CFA) approaches. We found an eight-factor structure consisting of the dimensions Visual Aesthetics, Operating Elements, Logo, Feedback Sounds, Operating Sounds, Haptic, Interaction Aesthetics, and Impression. In Study 2, we confirmed this structure by a CFA with the remaining n = 3,002 participants, resulting in excellent model fit. Further, construct validity was confirmed by correlations with other established aesthetic scales, intentions, and general judgments. In both studies, strict measurement invariance was achieved across four household appliances, which further highlights the psychometric quality of the newly developed scales. In Study 3 (N = 1,028), we demonstrated that most of the PAI factors as well as reliability, validity, and measurement invariance findings generalized to power tools, office equipment, and home entertainment devices. Finally, we provide recommendations for the usage of the PAI and implications for further research. (PsycInfo Database Record (c) 2024 APA, all rights reserved)
Differentiating types of cinematographic shot changes by cut through an EEG power spectral analysis.
Films are composed of different sequentially ordered shots limited by cuts, which bound the last frame of the outcoming shot and the first frame of the incoming shot. In turn, film editing is known to impact its aesthetics, and has been widely studied in film theory. The objective of this research was to locate and identify neuronal response patterns that make it possible to differentiate between specific types of shot changes by cut. The analysis was conducted on the neuronal rhythms of the electroencephalogram (EEG) by means of an EEG power spectral analysis. This enabled us to identify changes in neuronal excitation and inhibition based on the type of shot changes by cut. Specifically, we compared the neuronal records to locate the time windows for each electrode and frequency range exhibiting differences for various types of shot changes by cut. We combined this method with the permutation test and Spearman correlation to determine when the time windows for each electrode by frequency band are reacting to the cut event in a correlated manner among the different films. This analysis revealed that the neuronal responses to the cut depend on the variation between shots, rather than solely on the new input. Secondly, the findings allowed us to differentiate between shot changes according to the variation of the shot scale and changes due to the filming angle, or the absence thereof (i.e., cut on axis). The results expand our understanding of viewers’ neurological sensitivity to and comprehension of an important film feature. (PsycInfo Database Record (c) 2024 APA, all rights reserved)
Personality traits can predict architectural preferences: A machine learning approach.
Personalization of different aspects of architectural designs is one of the most novel issues in the modern world. The present study aimed to predict the association between personality traits and architectural preferences. A total of 352 participants with architectural (experts) and nonarchitectural (nonexperts) education were asked to complete a demographic profile and the NEO Five-Factor Personality Inventory. They were then asked to choose their preferred images, which were previously rated based on three aesthetic variables, that is, color-contrast, abstractness-concreteness, and spatial openness, in a series of two-alternative forced-choice questions. By using a random forest classifier, an accuracy of 73 to 84% was achieved for the variables. Due to the complexity of rules in the random forest model, data were explored for more interpretable rules, and a rule-based classifier (Waikato Environment for Knowledge Analysis software) was used. Based on the findings, introverts had the opposite behavior compared to the general population; they preferred images of enclosed spaces and with high color contrast. They also preferred popular architectural styles to high-style designs. Otherwise, the preference for greater spatial openness was common in both expert and nonexpert groups, although it was more noticeable in female extroverts. Nonexperts with high levels of openness to experience were mostly attracted to abstract images. Experts and nonexperts showed similar preferences in terms of color contrast and spatial openness, while there was a significant difference between the two groups regarding their preferred abstract and concrete concepts. In conclusion, educational background and personality traits could influence aesthetic preferences. (PsycInfo Database Record (c) 2024 APA, all rights reserved)
Understanding metaphor in art: Distinguishing literal giants from metaphorical challenges.
The structural-contextual dual frameworks theory comprises two heuristic frameworks that provide alternative means for the interpretation of metaphor in pictorial artworks (Crawford & Juricevic, 2016). The first of these frameworks is the contextual framework, which contends that the interpretation of pictorial metaphors is contextually rooted, and the second is the structural framework which interprets metaphor based on structural components of an artwork. We used these frameworks to analyze the literal and metaphorical use of the pictorial device of exaggerated size in 59 well-known works of art sampled from across history. Exaggerated size was chosen for analysis because it is often used literally (e.g., to depict an actual giant) or metaphorically (e.g., to depict an existential concern). The artworks were sorted into four separate categories (Literal-Literal, Metaphorical-Literal, Literal-Metaphorical, and Metaphorical-Metaphorical) based on their interpretation by the structural and contextual frameworks (respectively). A cumulative Poisson distribution with α <.05 revealed that artists typically produced artworks in all categories except for the incongruent combination of literal contextual information and metaphoric structural information. This suggests that when contextual and structural information conflicts in art, viewers rely on contextual information; when metaphoric and literal information conflicts, viewers favor metaphoric interpretations. This present study supports the idea that the structural-contextual dual frameworks theory may be used to investigate the use of metaphors across art styles and media. These results also provide a guide for combining literal and metaphorical information, whether the goal is ease of communication or to intentionally challenge the viewer. (PsycInfo Database Record (c) 2024 APA, all rights reserved)
Appreciating paintings of the virtuous: The influence of perceived artist morality on aesthetic judgment of their works.
The relationship between aesthetics and morality has been long debated. The current study manipulated perceived artist morality to systematically explore its influence on aesthetic judgments of paintings. Experiment 1 showed perceived artist morality as indicated by moral appraisal significantly influenced Chinese participants’ aesthetic judgments of Chinese landscape paintings. Participants rated their liking and the beauty of paintings, with the result that highly moral artists’ paintings were rated significantly higher than paintings of low-morality artists. Experiment 2 used moral behavior descriptions and replicated the finding of perceived artist morality influence on Chinese participants’ aesthetic judgments of Chinese landscape paintings, but we did not find this effect on aesthetic judgments of Western landscapes and abstract paintings. Experiment 3 found a cross-cultural discrepancy of the influence of perceived artist morality on aesthetic judgments. We found perceived artist morality influenced Western (Americans and Europeans) participants’ aesthetic judgments of all styles of paintings. This study confirmed the influence of perceived artist morality on aesthetic judgments of paintings, and suggested artists who cultivate a highly moral persona can thereby enhance the aesthetic value of their artworks among the public. (PsycInfo Database Record (c) 2024 APA, all rights reserved)
Photographs that repulse or entice: Sense-making and emotional experiencing of artistic photographs.
Aesthetic experiences with photographs are common in our digital society, yet there are many gaps in our scientific knowledge about how we look at, and aesthetically appreciate, photographs. Specifically, an in-depth view of these aesthetic experiences that takes into account the nuances of the photograph, as well as the emotional and meaning-making processes in the viewer, is lacking. In this project, we focus on a varied set of 58 contemporary artistic photographs (selected by expert judges) and, in two complementary studies, examine how 259 nonexperts aesthetically experience these photographs, whether contextual changes can impact their aesthetic preferences, and whether participants’ preferences relate to their emotional responses and how they were making meaning of the photographs. In general, participants’ aesthetic experiences varied greatly between photographs but they were robust against contextual changes (of other photographs or theme information). Emotional experience played a key role in participants’ preferences, with low preferences for photographs associated with negative emotions (e.g., blood, sickness, and pollution), and high preferences for photographs associated with positive emotions (e.g., nature and a street scene reminiscent of vacation). Making meaning of (what was in) the photograph was also important, and participants’ answers suggest that they did not always fully understand the photographs or integrate the photographs’ nuances into a coherent whole. Results have implications for empirical aesthetics, the (art) photography practice, and how we are responding to photographs in general. (PsycInfo Database Record (c) 2024 APA, all rights reserved)
Who likes the grotesque? Mapping individual differences in liking of grotesque artworks.
Why do some people find allure in artworks that focus on elements of repulsion, horror, and the bizarre? Across two studies, we examined how openness to experience, sensation seeking, need for affect, emotionality, disgust sensitivity, political orientation, art knowledge, and participant gender relate to the liking of grotesque art. In Study 1, participants (N = 203) rated their liking and interest in 40 works of grotesque art. As ratings of liking and interest were highly correlated (r = .88), we averaged them into one variable indicating liking. In Study 2, participants (N = 396) rated their liking of 20 works of grotesque art and 20 works of non-grotesque art (chosen based on a pilot study, N = 201). Results revealed that openness to experience, sensation seeking, art knowledge, left-leaning political orientation, and male gender were positively associated with the liking of grotesque art, whereas emotionality and disgust sensitivity were negatively associated with the liking of grotesque art. Of these variables, only openness to experience (positively) related to the liking of non-grotesque art. These results give insight into the personality characteristics that might underlie people's motivation to embrace or reject grotesque art. (PsycInfo Database Record (c) 2024 APA, all rights reserved)
A multifactorial model of visual imagery and its relationship to creativity and the vividness of Visual Imagery Questionnaire.
Visual imagery vividness (VIV) quantifies how clearly people can “conjure up” mental images. A higher VIV reflects a stronger image, which might be considered an important source of inspiration in creative production. However, despite numerous anecdotes documenting such a connection, a clear empirical relationship has remained elusive. We argue that (a) a misunderstanding of visual imagery as unidimensional and (b) an overreliance on Marks’ Vividness of Visual Imagery Questionnaire (VVIQ) are responsible. Based on both the proximal/distal imagination framework and the distinction between the ventral/dorsal visual pathways, we propose a new Multifactorial Model of Visual Imagery (MMVI). This argues that visual imagery is multidimensional and that only certain dimensions are related to creativity: inventive combinatorial ability, storyboarding, and conceptual expansion (all distal), together with the quasi-eidetic recall of detailed images (proximal). Turning to the VVIQ, a factor analysis of 280 responses in Study 1 yielded a three-factor solution (all proximal): episodic/autobiographical imagery, schematic recall, and controlled animation. None of these factors overlap with the creative dimensions of the MMVI. In Study 2, 133 participants had to remember nonverbalizable details of unfamiliar pictures for later recall; performance on this quasi-eidetic task again did not correlate with any VVIQ factors. We have thus demonstrated that the VVIQ is not unidimensional and that none of its factors appear suitable for probing imagery-creativity connections. The MMVI model is currently theoretical, and future research should confirm its validity, permitting a new, better targeted measure of VIV to be established that fully reflects its multidimensionality. (PsycInfo Database Record (c) 2024 APA, all rights reserved)
Creative artificial intelligence and narrative transportation.
Artificial intelligence (AI) is increasingly used to accomplish complex tasks, including the creation of artworks and entertainment products. Our focus here is on user responses to AI systems as authors of fictional stories. Across two experiments, we examined how the information that a story was written by AI influences narrative transportation and related experiences. In Experiment 1 (N = 325) the information that an AI had created a short story (contemporary fiction) reduced narrative transportation into this story. Experiment 2 (N = 489) was an extended replication in which genre differences (contemporary fiction vs. science fiction) were addressed. As expected, ostensible AI authorship reduced transportation, but this effect was qualified by genre: Whereas the AI-authorship effect was replicated for contemporary fiction stories, transportation did not differ between human and AI authorship when participants read science fiction stories. Across both experiments, individual differences (openness, affinity for technology and attitude toward AI) did not moderate the effect of AI authorship on any of the dependent variables. (PsycInfo Database Record (c) 2024 APA, all rights reserved)
The utility of divergent and convergent thinking in the problem construction processes during creative problem-solving.
The process of problem construction is known to be a critical influence on creative problem-solving. The current study assessed the utility of different problem construction methods used to maximize creativity during the creative process. An experimental design was used to explore the interplay between convergent and divergent thinking processes. Participants were asked to creatively solve an ill-defined problem under four conditions that varied in their combinations of instruction to engage in divergent and convergent thinking. Findings indicated that engaging in divergent thinking, followed by a convergent thinking method during the problem construction process results in more creative solutions than using only methods associated with divergent thinking. Theoretical and practical implications of these findings are discussed. (PsycInfo Database Record (c) 2024 APA, all rights reserved)
Divergent thinking and creative achievement—How strong is the link? An updated meta-analysis.
Achieving creativity in the real-world depends on multiple individual and environmental factors. Among them, divergent thinking (DT) has long been considered a key ingredient of creativity and an essential criterion for predicting real-life creative outcomes. However, the link between DT and creative achievement (CA) has yielded heterogeneous results, as outlined by a prior meta-analysis on the DT–CA link published in 2008. Given several limitations of this meta-analysis and the large body of relevant studies that have been published since then, the present article aimed to offer an updated and methodologically rigorous meta-analytical examination of the DT–CA link. A total of 766 effect sizes from 70 studies encompassing 14,901 subjects were analyzed using a meta-analytic three-level model. The results showed that DT was positively, albeit weakly, linked to CA, with only 3% of shared variance. Moderator analyses indicated that this link was robust to variations in DT and CA measures used, gender, educational level, measurement interval between DT and CA, and country of study, but differed by DT task modality, CA domain, and intellectual giftedness. Specifically, the strength of the DT–CA link was significantly larger for (a) verbal DT tasks, (b) CA in the performance domain, and (c) gifted subjects. A significant interaction effect was also found between CA domain and intellectual giftedness, with the DT–CA link being strongest among gifted subjects in the performance domain. Implications of these results for the study and measurement of creativity are discussed. (PsycInfo Database Record (c) 2024 APA, all rights reserved)
Can art change the way we see?
Visual art is pervasive in modern society. From advertising to fine arts galleries, the visual arts play a visible role in how we view and understand the world. In this review, we consider research that speaks to whether our experiences with art can change the way we see. Numerous studies speak, often indirectly, to this question—addressing whether artists see things differently from nonartists. Specifically, we reviewed literature that investigates the ways artistic ability and artistic training interact with visual abilities from the perspective that artists can be described as experts in visual media. Some work suggests that those who identify as artists or undergo artistic training perform better than nonartists on measures of low-level vision, high-level perception, and visual cognition, and show differences in brain activity while engaged in perceptual or artistic tasks. Other studies do not support these conclusions, however, and report no differences between artists and nonartists. We conclude that experimentally designed and well controlled training studies are necessary to elucidate whether artistic training shapes the brain and its perceptual and cognitive processes or whether budding artists gravitate toward the visual arts because of existing visual abilities. (PsycInfo Database Record (c) 2024 APA, all rights reserved)

Psychology of Aesthetics, Creativity, and the Arts - Vol 18, Iss 5