Ronald Hübner’s research while affiliated with University of Konstanz and other places

The waist-to-hip ratio (WHR) is commonly used as an indicator of mid-body fat distribution and is often used to answer health-related questions. It has also been suggested that a woman’s WHR can signal her reproductive fitness. This notion is supported by evidence indicating a relation between WHR and a woman’s physical attractiveness. However, it was also acknowledged that the actual fitness cue is the curviness of a woman’s body. While curviness is easy to perceive, it is difficult to quantify. Therefore, the WHR is often considered as a simple measure of body curviness. However, the WHR and curviness are not uniquely related. After replicating results of a pioneering study in this area, we therefore tested whether the WHR or curviness better predicts a woman’s physical attractiveness. As stimuli, we used simple line drawings of women’s bodies, differing in their curviness and width. The results demonstrate that curviness is a better predictor, even though we used a relatively simple curvature-based measure of curviness. This outcome indicates that the WHR is a poor measure of a woman’s body curviness and underscores the need for a more accurate measure of curviness when assessing the physical attractiveness of a woman’s body.

The identification of artistically creative individuals is an important matter in the fields of art, design, and psychology. One promising approach involves assessing a person's products rather than his or her personality or cognitive processes. However, the necessity of expert involvement in such evaluations is still debated. To investigate this issue, two experiments were conducted, each consisting of a production phase and an evaluation phase. In Experiment 1, participants were asked to compose a most beautiful picture, which was subsequently assessed in terms of beauty. Experiment 2 was analogous, but participants were asked to compose a most creative picture, which was then assessed in terms of creativity and beauty. The results revealed that expertise did not play a crucial role in the creation or evaluation of beauty. Both experts and non-experts largely agreed on what constitutes beauty. However, when it came to the production and assessment of creative pictures, experts had an advantage. They were the only group that was able to predict a person's creativity based on the evaluation of his or her product.

Spirals, with their widespread presence in both nature and culture, are universally admired. Although there are different types, such as the Archimedean, logarithmic, and golden spirals, they are indiscriminately considered as beautiful. This universal view might explain the lack of studies investigating aesthetic differences among spirals. To show that there are indeed differences, the beauty of the golden spiral was compared with that of the Fibonacci spiral in this empirical study. Since the curvature of the golden spiral changes continuously, whereas that of the Fibonacci spiral does so in steps, the golden spiral was predicted to be aesthetically preferred. The results clearly confirmed this prediction. That the difference in preference was really based on the continuity versus discontinuity of the curvature is supported by the further result that an Archimedean spiral was preferred over a Dürer spiral, which similarly differed in their continuity.

Vases continue to be important aesthetic objects in almost all developed cultures. Nevertheless, there is little to no systematic research on the shape characteristics that determine their beauty. A famous exception is Birkhoff, who in his 1933 book used the geometric ratios of vases to calculate their beauty. One form factor that he discussed theoretically but did not include in his aesthetic measure is the outline curvature of vases. This is despite the fact that William Hogarth recognized curvature as relevant to the aesthetic evaluation of forms as early as 1753, demonstrating this with his Line of Beauty. Given the great influence of these two ideas, the aim of the present study was to examine their contribution to the aesthetics of vases. For this objective, we designed a set of symbolic vases by systematically varying width and curvature, and asked participants to rate their beauty in an online experiment. The results show that both geometric ratios and curvature contribute to the beauty of the vases.

In 1753, artist William Hogarth declared a specific S-shaped line to be the ‘Line of Beauty’ (LoB). Hogarth’s assertion has had a profound impact on diverse fields over the past two and a half centuries. However, only one recent (2022) study has investigated whether Hogarth’s assertion accurately captures humans’ actual aesthetic preferences, and no research has explored why people find the LoB beautiful. We conducted two studies testing the hypothesis that the LoB’s perceived beauty is an incidental by-product of cognitive systems that evolved to attend to fitness-relevant morphological features in people. In Study 1, we replicated the finding that female bodies whose lumbar curvature approximates the biomechanical optimum for dealing with the exigencies of pregnancy are rated as more attractive. In Study 2, we found that abstract lines extracted from these bodies were perceived as more beautiful than other lines. These results suggest that the preference for Hogarth’s LoB is an incidental by-product of psychological mechanisms that evolved for other purposes. More broadly, these findings suggest that an evolutionary psychological approach – in particular the concept of evolutionary by-product – may be useful for understanding, explaining, and predicting people’s aesthetic preferences for certain abstract symbols, which otherwise might seem arbitrary and inexplicable.

Stimuli formerly associated with monetary reward capture our attention, even if this attraction is contrary to current goals (so-called value-driven attentional capture [VDAC], see Anderson (Ann N Y Acad Sci 1369:24–39, 2016), for a review). Despite the growing literature to this topic, little is known about the boundary conditions for the occurrence of VDAC. In three experiments, we investigated the role of response conflicts and spatial uncertainty regarding the target location during the training and test phase for the emergence of value-driven effects. Thus, we varied the occurrence of a response conflict, search components, and the type of task in both phases. In the training, value-driven effects were rather observed if the location of the value-associated target was not predictable and a response conflict was present. Value-driven effects also only occurred, if participants have not learned to deal with a response conflict, yet. However, the introduction of a response conflict during learning of the color-value association seemed to prevent attention to be distracted by this feature in a subsequent test. The study provides new insights not only into the boundary conditions of the learning of value associations, but also into the learning of cognitive control.

In some situations, e.g., when filling out lottery tickets, it can be advantageous to select random locations. However, people usually have difficulties with this, because they are biased by preferences for certain regions, such as the center of an area. According to ideas from art theory, the preferred regions reflect the hidden structure of perceptual forces within an area. In the present study, these structures were investigated and modeled under different conditions for areas with square and rectangular shape. The general task was to sequentially place a number of dots at random locations in an area by clicking with the computer mouse at corresponding positions on the screen. Whereas in a single-dot condition each dot had to be placed in an empty area, the previously placed dots remained visible in a multiple-dots condition. In three experiments it was found that dots were preferentially placed at the center, the diagonals, and the principal axes. This preference was more pronounced in the single than in the multiple-dot condition. Moreover, sequential analyses revealed that dot placing was not only planned in advance, but that the participants also agreed to some extent in their sequential selections, which produced surprisingly similar sequential spatial patterns across participants, at least for the first dots. Altogether, the results indicate that people have great difficulties with the random selection of locations. Their selections are strongly affected by the attraction of specific regions, by previous selections, and by sequential habits.

Since the Renaissance, different line types have been distinguished by artists and art theorists. However, it took another hundreds of years until the British artist William Hogarth attributed different degrees of beauty to them. Particularly, in his book “The Analysis of Beauty” (1753) he depicted seven waving lines, declared line number 4 as the most beautiful, and called it the “line of beauty”. Until today, the line of beauty has a persistently strong influence in many areas such as landscape art and design, calligraphy, furniture design, architecture, dance, etc. It is astonishing that Hogarth's assumptions have never been empirically tested. Therefore, we asked participants to rate Hogarth's lines by their beauty. As a result, line number 4 was indeed the most preferred, although number 5 was judged similarly. An analysis revealed that curvature was nonlinearly related to beauty and explains more than 90% of the variance in the mean aesthetic judgments.

Under time pressure, it is usually not possible to respond quickly and accurately at the same time. Therefore, people must trade speed for accuracy, depending on the current payoff conditions. Ideally, they should choose a speed-accuracy tradeoff (SAT) that optimizes their monetary reward. However, this is hardly the case. Rather, persons exhibit an accuracy bias, which is often disadvantageous. To further investigate the role of errors for optimizing reward, we conducted a flanker-task study with different payoff and framing conditions. Whereas the reward for correct responses always increased continuously with speed, the costs of errors varied. In three of four conditions, responding very fast, even with low accuracy, was favorable. Furthermore, in addition to the usual gain framing, half of our participants were instructed according to a loss frame. Whereas framing had little effect on performance, we found a substantial accuracy bias. Only in the most extreme condition some participants overcame their bias and responded very quickly. To examine how SAT strategies differed between participants, we modeled the performance with a sequential-sampling model. The results suggest that various mechanisms were involved in realizing specific SATs. However, they were hardly applied to optimize reward. Rather, participants seem to have optimized their well-being. (PsycInfo Database Record (c) 2021 APA, all rights reserved).

Every day, we are confronted with a vast amount of information that all competes for our attention. Some of this information might be associated with rewards (e.g., gambling) or losses (e.g., insurances). To what extent such information, even if irrelevant for our current task, not only attracts attention but also affects our actions is still a topic under examination. To address this issue, we applied a new experimental paradigm that combines visual search and a spatial compatibility task. Although colored stimuli did not modulate the spatial compatibility effect more than gray stimuli, we found clear evidence that reward and loss associations attenuated this effect, presumably by affecting attention and response selection. Moreover, there are hints that differences in these associations are also reflected in a modulation of the spatial compatibility effect. We discuss theoretical implications of our results with respect to the influences of color, reward, and loss association on selective attention and response selection.