Defensive emotions and evaluative judgements: Sensitivity to anger and fear predicts moral judgements, whereas sensitivity to disgust predicts aesthetic judgements.

Aesthetic and moral evaluations engage appetitive and defensive emotions. While the role played by pleasure in positive aesthetic and moral judgements has been extensively researched, little is known about how defensive emotions influence negative aesthetic and moral judgements. Specifically, it is unknown which defensive emotions such judgements tap into, and whether both kinds of judgement share a common emotional root.

How universal is preference for visual curvature? A systematic review and meta-analysis.

Evidence dating back a century shows that humans are sensitive to and exhibit a preference for visual curvature. This effect has been observed in different age groups, human cultures, and primate species, suggesting that a preference for curvature could be universal. At the same time, several studies have found that preference for curvature is modulated by contextual and individual factors, casting doubt on this hypothesis.

Differences in regional gray matter volume predict the extent to which openness influences judgments of beauty and pleasantness of interior architectural spaces.

Hedonic evaluation of sensory objects varies from person to person. While this variability has been linked to differences in experience, little is known about why stimuli lead to different evaluations in different people. We used linear mixed-effects models to determine the extent to which the openness, contour, and ceiling height of interior spaces influenced the beauty and pleasantness ratings of 18 participants.

Emotional representations of space vary as a function of peoples' affect and interoceptive sensibility.

Most research on people's representation of space has focused on spatial appraisal and navigation. But there is more to space besides navigation and assessment: people have different emotional experiences at different places, which create emotionally tinged representations of space. Little is known about the emotional representation of space and the factors that shape it.

The role of working memory capacity in evaluative judgments of liking and beauty.

Judgments of liking and beauty appear to be expressions of a common hedonic state, but they differ in how they engage cognitive processes. We hypothesised that beauty judgments place greater demands on limited executive resources than judgments of liking. We tested this hypothesis by asking two groups of participants to judge works of visual art for their beauty or liking while having to remember the location of 1, 3, or 5 dots in a 4 by 4 matrix.

Evaluative judgment across domains: Liking balance, contour, symmetry and complexity in melodies and visual designs.

Evaluative judgment-i.e., assessing to what degree a stimulus is liked or disliked-is a fundamental aspect of cognition, facilitating comparison and choosing among alternatives, deciding, and prioritizing actions.

The nature of beauty: behavior, cognition, and neurobiology.

Beauty is commonly used to refer to positive evaluative appraisals that are uniquely human. Little is known, however, about what distinguishes beauty in terms of psychological function or neurobiological mechanisms. Our review describes recent empirical studies and synthesizes what behavioral, cognitive, and neuroscientific experiments have revealed about the nature of beauty.

There are no aesthetic emotions: Comment on Menninghaus et al. (2019).

Menninghaus and colleagues (2019) have recently argued that aesthetic emotions constitute a distinct class of emotions. They claim that aesthetic emotions are distinct because they involve an aesthetic evaluation, they are tuned to specific aesthetic virtues, they involve subjectively felt pleasure or displeasure, and predict liking or disliking. Here we examine the theory in the light of psychological and neurobiological empirical findings.

Reply to Myszkowski et al. (2020): Some matters of fact concerning aesthetic sensitivity.

We respond to some of Myszkowski and colleagues' (2020, Br. J. Psychology) critical comments on our recent work on aesthetic sensitivity (Corradi, Chuquichambi, Barrada, Clemente, & Nadal, 2020, Br.

Psychological and neural responses to architectural interiors.

People spend considerable time within built environments. In this study, we tested two hypotheses about the relationship between people and built environments. First, aesthetic responses to architectural interiors reduce to a few key psychological dimensions that are sensitive to design features.

A Set of 200 Musical Stimuli Varying in Balance, Contour, Symmetry, and Complexity: Behavioral and Computational Assessments.

We present a novel set of 200 Western tonal musical stimuli (MUST) to be used in research on perception and appreciation of music. It consists of four subsets of 50 stimuli varying in balance, contour, symmetry, or complexity. All are 4 s long and designed to be musically appealing and experimentally controlled.

A Farewell to Art: Aesthetics as a Topic in Psychology and Neuroscience.

Empirical aesthetics and neuroaesthetics study two main issues: the valuation of sensory objects and art experience. These two issues are often treated as if they were intrinsically interrelated: Research on art experience focuses on how art elicits aesthetic pleasure, and research on valuation focuses on special categories of objects or emotional processes that determine the aesthetic experience. This entanglement hampers progress in empirical aesthetics and neuroaesthetics and limits their relevance to other domains of psychology and neuroscience.

Medial prefrontal cortex involvement in aesthetic appreciation of paintings: a tDCS study.

Among the brain regions involved in the aesthetic evaluation of paintings, the prefrontal cortex seems to play a pivotal role. In particular, consistent neuroimaging evidence indicates that activity in the dorsolateral prefrontal cortex (mainly in the left hemisphere) and in medial and orbital sectors of the prefrontal cortex is linked to viewing aesthetically pleasing images. In this study, we focused on the contribution of the medial prefrontal cortex (mPFC) in mediating aesthetic decisions about paintings.

A new conception of visual aesthetic sensitivity.

Aesthetic sensitivity has been defined as the ability to recognize and appreciate beauty and compositional excellence, and to judge artistic merit according to standards of aesthetic value. The Visual Aesthetic Sensitivity Test (VAST) has often been used to assess this ability, but recent research has revealed it has several psychometric problems. Such problems are not easily remedied, because they reflect flawed assumptions inherent to the concept of aesthetic sensitivity as traditionally understood, and to the VAST itself.

Aesthetic sensitivity to curvature in real objects and abstract designs.

The features of objects have a strong influence on how we evaluate, judge, approach, and behave toward them. People generally prefer complex, symmetric, balanced and curved designs. In addition to these general trends, however, there are substantial differences among people in what they like and prefer, and in the extent to which their preferences and choices are modulated by design features.

Neuroaesthetics and art's diversity and universality.

There is a duality to art. It is enormously varied and culturally diverse, and yet it is also universal, common to all humans. Art's variability and distinctiveness seem to elude science, better equipped to account for constant or regular phenomena.

Cross-cultural empirical aesthetics.

Cross-cultural empirical aesthetics seeks to determine whether the psychological processes underlying aesthetic preference are universal. Here we provide a critical review of the field's origin, development, and current state. Our goal is to evaluate the evidence and separate what is actually known from what is only assumed.

Art is not special: an assault on the last lines of defense against the naturalization of the human mind.

The assumption that human cognition requires exceptional explanations holds strong in some domains of behavioral and brain sciences. Scientific aesthetics in general, and neuroaesthetics in particular, abound with claims for art-specific cognitive or neural processes. This assumption fosters a conceptual structure disconnected from other fields and biases the sort of processes to be studied.

Psychological models of art reception must be empirically grounded.

We commend Menninghaus et al. for tackling the role of negative emotions in art reception. However, their model suffers from shortcomings that reduce its applicability to empirical studies of the arts: poor use of evidence, lack of integration with other models, and limited derivation of testable hypotheses.

Hemispheric asymmetry of liking for representational and abstract paintings.

Although the neural correlates of the appreciation of aesthetic qualities have been the target of much research in the past decade, few experiments have explored the hemispheric asymmetries in underlying processes. In this study, we used a divided visual field paradigm to test for hemispheric asymmetries in men and women's preference for abstract and representational artworks. Both male and female participants liked representational paintings more when presented in the right visual field, whereas preference for abstract paintings was unaffected by presentation hemifield.