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Neuroticism, schizotypy, and scale anchors influence eye movement behaviour in the visual exploration of abstract art: An exploratory study

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Abstract

The same piece of artwork can attract both admiration and rejection from different people. One potential explanation for this effect is individual differences in perceptual biases, which influence the way in which we see different aspects of the same image. We explored the relationship between individual differences (i.e., personality) and eye movements for examinations of abstract art. Images were presented for 5000 ms, after which participants judged aesthetic appeal and perceived value using visual analogue scales. Scale anchor labels (Looks Good/Looks Bad; 0/5000) were counterbalanced between participants such that positive labels were on the left half of the time and on the right half of the time. Overall, more fixations occurred to the right and upper visual fields. Neuroticism significantly predicted the proportion of fixations to the left, whereas cognitive disorganisation negatively predicted the proportion of fixations to upper space. Participants found images more aesthetically pleasing and more valuable when positive anchors were on the left. Findings demonstrate that personality traits influence fixation patterns. Further, the positioning of positive anchor labels on the left leads to higher ratings of visual stimuli.

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... A growing body of research has found that personal traits involving artistic experience and openness to experience influence AE (Colver & El-Alayli, 2015;Krajewska & Waligórska, 2015;Myszkowski, Storme, Zenasni, & Lubart, 2014;Simpson & Thomas, 2018). Besides, the level of knowledge and personal experience created by the paintings predict an aesthetic appreciation, suggesting an interaction effect of personal traits and stimuli during an AE process (Jankowski, Francuz, Oleś, & Chmielnicka-Kuter, 2018). ...
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... A growing body of research has found that personal traits involving artistic experience and openness to experience influence AE (Colver & El-Alayli, 2015;Krajewska & Waligórska, 2015;Myszkowski, Storme, Zenasni, & Lubart, 2014;Simpson & Thomas, 2018). Besides, the level of knowledge and personal experience created by the paintings predict an aesthetic appreciation, suggesting an interaction effect of personal traits and stimuli during an AE process (Jankowski, Francuz, Oleś, & Chmielnicka-Kuter, 2018). ...
Article
Aesthetic experience (AE) and creativity overlap in cognitive processes; the conscious practice of AE focused on everyday designed products can be an effective way to enhance creativity. To better understand the effects of such conscious practice, we designed one control intervention with free product observation and four interventions corresponding to four product-based AE processes, by which we explored what types of conscious practice would best facilitate the learning of creativity. Additionally, the moderation effect of everyday aesthetic experience in designed products was examined. One hundred and eighty college students were randomly assigned to five intervention groups: Control group (C), Perceptual analysis (E1), Life-experience association (E2), Functional analysis (E3), or Aesthetic-emotion evocation (E4). The intervention stimuli were 50 photos of everyday designed products, and the creativity was measured by the Product-based Figural Creativity Test. The results revealed that engaging the participants in conscious AE practices, especially those that contribute to the association between imaginary narratives and the participants’ life experiences (E4) or that enhance analytical thinking on valuableness of the product (E3), can best improve college students’ creativity. Besides, the personal trait of everyday AE interacted with the interventions and influenced the participants’ creativity improvement, suggesting that providing scaffolding in accordance with personality traits can magnify the effects of learning creativity. To conclude, this study theorizes and examines the link between varied AE-based practices and the performance of creativity as well as the moderation role of everyday AE in such learning. The findings provide valuable insight for designing effective AE-based interventions for enhancing AE and creativity.
... Due to the relevance of eye movements in salience attribution processes, the relative dearth of research linking natural, self-driven eye movement behavior to schizophrenia-spectrum symptoms is surprising. Research to date has instead been largely limited to the examination of smooth pursuit eye tracking deficits using task-based paradigms (see meta-analysis, O'Driscoll and Callahan, 2008) or lateral asymmetries in eye movement behavior (Simpson and Thomas, 2018). These paradigms, however, do not target the key question of whether differences in visual salience attribution are present. ...
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... First, it is unlikely that the cheerleader effect is due to increasing familiarity with the target faces over repeated presentations (Peskin & Newell, 2004), because the effect occurs when the target face is shown twice in a randomised order (group, alone; e.g., Experiment 1, Chapter 5). Second, the cheerleader effect occurred when the left-right orientation of the response scale anchors ("very unattractive/very attractive") was counterbalanced between participants (Chapter 4), indicating that the effect is not caused by a spatial congruency between the target location and the rating scale (Nicholls et al., 2006;Simpson & Thomas, 2018). Third, the cheerleader effect occurred when the presentation time of the group image (7000 ms) greatly exceeded that of the alone condition (2000 ms; Experiment 5, Chapter 6), suggesting that the effect does not occur because the observer has less time to examine the target face in the group image (Rashidi et al., 2012;Saegusa & Watanabe, 2016). ...
Thesis
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Functional specialization in the lower and upper visual fields in humans is analyzed in relation to the origins of the primate visual system. Processing differences between the vertical hemifields are related to the distinction between near (peripersonal) and far (extrapersonal) space, which are biased toward the lower and upper visual fields, respectively. Nonlinear/global processing is required in the lower visual field in order to perceive the optically degraded and diplopic images in near vision, whereas objects in far vision are searched for and recognized primarily using linear/local perceptual mechanisms.
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This study was concerned with the question of which personality variables are most predictive of judgements of particular types of painting. One hundred and twenty-one participants rated 24 slides of abstract, pop art, and representational paintings. They then completed two questionnaires which measured sensation seeking (SS) and the ‘Big Five’ personality dimensions. Thrill and Adventure Seeking was positively correlated with a liking of representational art while Disinhibition was associated with positive ratings of abstract art and pop art. Neuroticism was positively correlated with positive ratings of abstract and pop art, while conscientiousness was linked to liking of representational art. Openness to Experience was linked to positive ratings of all three art types. Agreeableness was negatively linked to liking of pop art. It was also found that art education and frequency of visits to art galleries were linked to positive ratings of abstract paintings. Regressional analyses showed about a fifth of the variance could be accounted for by personality and demographic variables. Personality variables were most strongly linked to positive judgements of representational art and least related to ratings of pop art. Overall the sensation seeking variables accounted for more of the variance than the big five dimensions. Copyright © 2001 John Wiley & Sons, Ltd.
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Visual exploration is driven by two main factors - the stimuli in our environment, and our own individual interests and intentions. Research investigating these two aspects of attentional guidance has focused almost exclusively on factors common across individuals. The present study took a different tack, and examined the role played by individual differences in personality. Our findings reveal that trait curiosity is a robust and reliable predictor of an individual's eye movement behavior in scene-viewing. These findings demonstrate that who a person is relates to how they move their eyes.
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A leftward spatial bias has been observed with visuospatial attention tasks, including line bisection and the greyscales task. Upper and lower visual field differences have been observed on various tasks, with a lower visual field advantage occurring for motion, global processing and coordinate spatial judgments. Upper visual field advantages occur for visual search, local processing and categorical judgments. In perceptual asymmetries research, upper and lower visual field differences have not typically been scored separately, as most presentations have been central. Mixed results have made it difficult to determine whether lateral biases are stronger in the upper or the lower visual field. As length of presentation time differed in prior studies, this factor was examined to determine whether it would lead differential biases to emerge in each visual field. The greyscales task was used to investigate the interaction of visual field and presentation time within subjects (N=43). Eye tracking was used during the task and supported the hypothesis of a stronger left bias in the lower visual field. Presentation time and visual field interacted to influence performance. Prolonged presentation led to a stronger leftward bias in the lower visual field whereas the leftward bias was stronger in the upper visual field during brief presentation. Results showed a relation between the lower and left visual fields and the upper and right visual fields, which has not previously been shown in perceptual asymmetries. Further, it is suggested that functional differences between the visual streams could underlie the visual field differences in perceptual asymmetries.