Processing Fluency and Aesthetic Pleasure: Is Beauty in the Perceiver's Processing Experience?

@article{Reber2004ProcessingFA,  title={Processing Fluency and Aesthetic Pleasure: Is Beauty in the Perceiver's Processing Experience?},  author={Rolf Reber and Norbert Schwarz and Piotr Winkielman},  journal={Personality and Social Psychology Review},  year={2004},  volume={8},  pages={364 - 382},  url={https://api.semanticscholar.org/CorpusID:1868463}}
This work proposes that aesthetic pleasure is a funnction of the perceiver's processing dynamics: the more fluently perceivers can process an object, the more positive their aesthetic response, and reviews variables known to influence aesthetic judgments, and traces their effects to changes in processing fluency.

2,511 Citations

A Dual-Process Perspective on Fluency-Based Aesthetics

This model suggests that processing performed immediately upon encountering an aesthetic object is stimulus driven, and aesthetic preferences that accrue from this processing reflect aesthetic evaluations of pleasure or displeasure, and it provides a parsimonious framework to embed and unite a wealth of aesthetic phenomena.

Interest, Disfluency, and Underlying Values: a Better Theory of Aesthetic Pleasure

Over the last few decades, empirical researchers have become increasingly interested in explaining the formation of “basic” aesthetic judgments, i.e. simple judgments of sensory preferability and the

Fluency, prediction and motivation: how processing dynamics, expectations and epistemic goals shape aesthetic judgements

What psychological mechanisms underlie aesthetic judgements? An influential account known as the Hedonic Marking of Fluency, later developed into a Processing Fluency Theory of Aesthetic Pleasure,

It felt fluent, and I liked it: subjective feeling of fluency rather than objective fluency determines liking.

According to the processing-fluency explanation of aesthetics, more fluently processed stimuli are preferred (R. Reber, N. Schwarz, & P. Winkielman, 2004, Processing fluency and aesthetic pleasure:

Beauty as an Emotion: The Exhilarating Prospect of Mastering a Challenging World

Beauty has received sparse attention from emotion theorists, some of whom have argued that aesthetic pleasure is cognitive in nature and too “disinterested” to be emotional. This view is supported by

Aesthetic Relationship, Cognition, and the Pleasures of Art

The paper tries to clarify the relationship between aesthetic experience and artworks, as well as between cognition and the pleasures of art. Starting with an analytical distinction between

Do we enjoy what we sense and perceive? A dissociation between aesthetic appreciation and basic perception of environmental objects or events

This integrative review rearticulates the notion of human aesthetics by critically appraising the conventional definitions, offerring a new, more comprehensive definition, and identifying the

Visual features, aesthetic judgments, and modulating factors

The act of making aesthetic judgments of objects in the environment involves a complex interplay of numerous factors that are present during any given aesthetic episode (Leder, Belke, Oeberst, &

The effects of stimulus complexity and conceptual fluency on aesthetic judgments of abstract art: Evidence for a default–interventionist account

ABSTRACT We report an experiment investigating how stimulus complexity and conceptual fluency (i.e., the ease of deriving meaning) influence aesthetic liking judgments for abstract artworks. We
...

197 References

Effects of Perceptual Fluency on Affective Judgments

According to a two-step account of the mere-exposure effect, repeated exposure leads to the subjective feeling of perceptual fluency, which in turn influences liking. If so, perceptual fluency

Illusions of familiarity.

Feelings of familiarity are not direct products of memory. Although prior experience of a stimulus can produce a feeling of familiarity, that feeling can also be aroused in the absence of prior

The Message Within : The Role of Subjective Experience In Social Cognition And Behavior

D.T. Gilbert, D.M. Wegner, Introduction: Subjective Experience as the Centerpiece of Social Psychology. Part 1. Subjective Experience And Information Processing. K. Fiedler, On Mere Considering. A.

The source of feelings of familiarity: the discrepancy-attribution hypothesis.

The authors suggest that the perception of discrepancy is a major factor in producing the feeling of familiarity, and that the occurrence of that perception depends on the task in which the person is engaged when encountering the stimulus, because that task affects the standard that the person will apply in evaluating their processing.

Looking at pictures: affective, facial, visceral, and behavioral reactions.

Responsibility specificity, particularly facial expressiveness, supported the view that specific affects have unique patterns of reactivity, and consistency of the dimensional relationships between evaluative judgments and physiological response emphasizes that emotion is fundamentally organized by these motivational parameters.

The science of art: A neurological theory of aesthetic experience

art may employ ‘supernormal’ stimuli to excite form areas in the brain more strongly than natural stimuli. Second, we suggest that grouping is a very basic principle. The different extrastriate

The Attribution and Discounting of Perceptual Fluency: Preliminary Tests of a Perceptual Fluency/Attributional Model of the Mere Exposure Effect

Bornstein and D'Agostino (1990, 1992) hypothesized that the mere exposure effect results from a combination of two processes. First, an increase in perceptual fluency is induced by repeated exposure
...

Related Papers

Showing 1 through 3 of 0 Related Papers