Aesthetic experiences in everyday life unfold under continuously changing visual input. Although these experiences clearly depend on the observer and context, they are partly explained by the visual features of the input. Here, we investigated how well a combination of visual features predicts dynamic aesthetic experiences during naturalistic and artistic movie watching. In two experiments, participants continuously rated the aesthetic appeal of either the nature documentary Home (N = 37) or the animated art-style movie Loving Vincent (N = 30). We modeled moment-to-moment ratings using image-computable visual features extracted from each movie frame, including visual fluency, color and motion statistics, and symmetry. Linear models trained on these features reliably predicted aesthetic ratings for new movie parts, both within and across observers, pointing to shared perceptual influences on aesthetic experiences. Model comparisons showed that visual fluency and color-related features were most informative for predicting aesthetic experience in both movies. Critically, models trained on one movie could reliably predict aesthetic appeal ratings in the other movie, despite the movies’ remarkably different content and styles. Color features were most informative for cross-movie prediction. We conclude that visual features provide a robust basis for explaining dynamic aesthetic experiences across observers and different movie content.
ProFocus is a novel framework that models affective experience in artistic images via progressive visual focusing inspired by a hierarchical cognitive theory of human aesthetic appreciation and consistently outperforms state-of-the-art methods in both emotion recognition and affective explanation.
Zhiyan Zhang, Zi-Qing Yan, Jianqi Chen et al.· 0 citations
Abstract art tends to receive lower and more variable aesthetic ratings than representational art among non-expert viewers, yet the role of abstraction in aesthetic judgment remains underexplored. We investigated whether perceived abstraction accounted for part of the relations between quantitative visual properties an...
Young-Jung Ji, Jeounghoon Kim· Empirical Studies of the Art...· 0 citations
The recognition of emotional visual stories is an issue that involves simultaneous comprehension of semantic transformation between successive frames, the distribution of visual attention by the viewers, and observable emotional response. Information carried by visuals is not enough to completely characterize the perce...
Si-Ping Zhang· Applied and Computational En...· 0 citations
This study investigates how colour influences audience perception in film advertising, particularly through movie posters. Integrating theoretical insights from colour psychology and cultural semiotics, the research addresses a gap in the literature regarding the empirical association between colour palettes, film genr...
Paulo Duarte, Henrique Teles Pais, Sara Brito Filipe· REMark: Revista Brasileira d...· 0 citations
When we appreciate visual art, we often take our time: We visit museums or galleries and deliberately engage with artworks and their meaning. Yet, our liking might at least partly be shaped by incidental encoding of the artworks’ visual features, a process initially independent from sustained engagement. Here, we show...
Sanjeev Nara, Vaishali Goyal, G. Menegon et al.· bioRxiv· 0 citations
Humans rapidly assess the beauty of natural scene images. Previous EEG work suggests neural representations of beauty emerge early and are temporally sustained. Complementary fMRI work pinpoints the neural correlates of beauty to visual, frontal, and default-mode network areas. An integrated view of the spatiotemporal...
Philipp Flieger, Rico Stecher, Daniel Kaiser· bioRxiv· 1 citation
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