Effects of liking on visual attention in faces and paintings.

The visual aesthetics of an object increases visual attention towards the object. It is argued that this relation between liking and attention is an evolutionary adaptation in sexual and natural selection. If this is the case, we would expect this relation to be domain specific, and thus, stronger for biological than for non-biological objects.

How relationship status and sociosexual orientation influence the link between facial attractiveness and visual attention.

Facial attractiveness captures and binds visual attention, thus affecting visual exploration of our environment. It is often argued that this effect on attention has evolutionary functions related to mating. Although plausible, such perspectives have been challenged by recent behavioral and eye-tracking studies, which have shown that the effect on attention is moderated by various sex- and goal-related variables such as sexual orientation.

Anchoring Effects in Facial Attractiveness.

First impressions from faces emerge quickly and shape subsequent behaviour. Given that different pictures of the same face evoke different impressions, we asked whether presentation order affects the overall impression of the person. In three experiments, we presented naturally varying photos of a person's face in ascending (low-to-high) or descending (high-to-low) order of attractiveness.

Positive fEMG Patterns with Ambiguity in Paintings.

Whereas ambiguity in everyday life is often negatively evaluated, it is considered key in art appreciation. In a facial EMG study, we tested whether the positive role of visual ambiguity in paintings is reflected in a continuous affective evaluation on a subtle level. We presented ambiguous (disfluent) and non-ambiguous (fluent) versions of Magritte paintings and found that activation was higher and activation was lower for ambiguous than for non-ambiguous versions.

Face inversion increases attractiveness.

Assessing facial attractiveness is a ubiquitous, inherent, and hard-wired phenomenon in everyday interactions. As such, it has highly adapted to the default way that faces are typically processed: viewing faces in upright orientation. By inverting faces, we can disrupt this default mode, and study how facial attractiveness is assessed.

Private and Shared Taste in Art and Face Appreciation.

Whether beauty is in the eye of the beholder or shared among individuals is a longstanding question in empirical aesthetics. By decomposing the variance structure of data for facial attractiveness, it has been previously shown that beauty evaluations comprise a similar amount of private and shared taste (Hönekopp, 2006). Employing the same methods, we found that, for abstract artworks, components that vary between individuals and relate to personal taste are particularly strong.