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Previous research has shown that artists employ flexible attentional strategies during offline perceptual tasks. The current study explored visual processing online, by tracking the eye movements of artists and non-artists (n=65) while they produced representational drawings of photographic stimuli. The findings revealed that it is possible to differentiate artists from non-artists on the basis of the relative amount of global-to-local saccadic eye movements they make when looking at the target stimulus while drawing, but not in a preparatory free viewing phase. Results indicated that these differences in eye movements are not specifically related to representational drawing ability, and may be a feature of artistic ability more broadly. This eye movement analysis technique may be used in future research to characterise the dynamics of attentional shifts in eye movements while artists are carrying out a range of artistic tasks.

Graffiti art is a controversial art form, and as such there has been little empirical work assessing its aesthetic value. A recent study examined image statistical properties of text-based artwork and revealed that images of text contain less global structure relative to fine detail compared to artworks. However, previous research did not include graffiti tags or murals, which reside in the space between text and visual art. The current study investigated the image statistical properties and attractiveness of graffiti relative to other text-based and pictorial art forms, focusing additionally on the role of expertise. A series of images (N = 140; graffiti, text and paintings) were presented to a group of observers with varying degrees of art interest and expertise ( N = 169). Findings revealed that image statistics predicted attractiveness ratings to images, and that biases against graffiti art are less salient in an expert sample.

© 2019 American Psychological Association. A growing body of correlational research has revealed systematic relationships between various aspects of visuospatial processing and representational drawing ability. However, very few studies have sought to examine the longitudinal development of the relation between drawing and visuospatial ability. The current investigation explored change in drawing and visuospatial skill in art students taking a foundational drawing course (N = 42) in a longitudinal design. Measures of representational drawing skill, dispositional traits, and visuospatial skill were taken at three time points over the course of 5 months. The findings reveal improvements in representational drawing, mental rotation, disembedding figures, and attentional switching. However, individual differences in change over time on one task did not predict change in another, revealing implications for domain-specific and domain-general aspects of art and design expertise. ispartof: Psychology of Aesthetics, Creativity, and the Arts vol:15 issue:1 pages:1-15 status: Published online

Conflicting empirical and theoretical accounts suggest that dyslexia is associated with either average, enhanced, or impoverished high-level visuospatial processing relative to controls. Such heterogeneous results could be due to the presence of wider variability in dyslexic samples, which is unlikely to be identified at the single study level, due to lack of power. To address this, the current study reports a meta-analysis of means and variances in high-level visuospatial ability in 909 non-dyslexic and 956 dyslexic individuals. The findings suggest that dyslexia is associated not only with a lower mean performance on visuospatial tasks, but also with greater variability in performance. Through novel meta-analytic techniques, we demonstrate a negative effect size for mean differences (-.457), but a positive effect size for SD differences (+.118; SD ratio = 1.107). In doing so, this is the first study to demonstrate impoverished visuospatial processing of the majority of individuals with dyslexia in addition to greater variance in performance in this group. The findings advocate for further consideration of both the presence of, and reasons for, increased variance in perception, attention and memory across neurodevelopmental disorders.

As artificial intelligence (AI) technology increasingly becomes a feature of everyday life, it is important to understand how creative acts, regarded as uniquely human, can be valued if produced by a machine. The current studies sought to investigate how observers respond to works of visual art created either by humans or by computers. Study 1 tested observers’ ability to discriminate between computer-generated and man-made art, and then examined how categorisation of art works impacted on perceived aesthetic value, revealing a bias against computer-generated art. In Study 2 this bias was reproduced in the context of robotic art, however it was found to be reversed when observers were given the opportunity to see robotic artists in action. These findings reveal an explicit prejudice against computergenerated art, driven largely by the kind of art observers believe computer algorithms are capable of producing. These prejudices can be overridden in circumstances in which observers are able to infer anthropomorphic characteristics in the computer programs, a finding which has implications for the future of artistic AI.

Since its initial development, the Embedded Figures Test (EFT) has been used extensively to measure local-global perceptual style. However, little is known about the perceptual factors that\ud influence target detection. The current study aimed to investigate disembedding in children with and without ASD, aged 8-15y, using the newly developed, stimulus-controlled L-EFT, M-EFT and D-EFT. Firstly, results revealed superior disembedding for children with ASD, irrespective of the type of target or embedding context, although the ASD group took more time in both the M-EFT and D-EFT. Secondly, the number of target lines continuing into the context proved more of a hindrance for the controls. Taken together, these findings provide strong evidence to support the notion of superior disembedding in ASDSince its initial development, the Embedded Figures Test (EFT) has been used extensively to\ud measure local-global perceptual style. However, little is known about the perceptual factors that influence target detection. The current study aimed to investigate disembedding in children with and without ASD, aged 8-15y, using the newly developed, stimulus-controlled L-EFT, M-EFT and D-EFT. Firstly, results revealed superior disembedding for children with ASD, irrespective of the type of target or embedding context, although the ASD group took more time in both the M-EFT and D-EFT. Secondly, the number of target lines continuing into the context proved more of a hindrance for the controls. Taken together, these findings provide strong evidence to support the notion of superior disembedding in ASD.

Artists often report that seeing familiar stimuli in novel and interesting ways plays a role in visual art creation. However, the attentional mechanisms which underpin this ability have yet to be fully investigated. More specifically, it is unclear whether the ability to reinterpret visual stimuli in novel and interesting ways is facilitated by endogenously generated switches of attention, and whether it is linked in turn to executive functions such as inhibition and response switching. To address this issue, the current study explored ambiguous figure reversal and executive function in a sample of undergraduate students studying arts and non-art subjects (N = 141). Art students showed more frequent perceptual reversals in an ambiguous figure task, both when viewing the stimulus passively and when eliciting perceptual reversals voluntarily, but showed no difference from non-art students when asked to actively maintain specific percepts. In addition, art students were worse than non-art students at inhibiting distracting flankers in an executive inhibition task. The findings suggest that art students can elicit endogenous shifts of attention more easily than non-art students but that this faculty is not directly associated with enhanced executive function. It is proposed that the signature of artistic skill may be increased perceptual flexibility accompanied by reduced cognitive inhibition; however, future research will be necessary to determine which particular subskills in the visual arts are linked to aspects of perception and executive function.

© 2018 American Psychological Association. The question of whether and how visual artists see the world differently than nonartists has long engaged researchers and scholars in the arts, sciences, and humanities. Yet as evidence regarding this issueaccumulates, it has become clear that the answers to these questions are by no means straightforward. With a view to advancing ongoing debate in this field, the current study aimed to replicate and extend previous research by exploring the differences in visual-spatial ability between art students (n = 42) and nonart students (n = 37), using a comprehensive battery of visual-spatial and drawing tasks. Art students outperformed nonart students on drawing measures and some (but not all) visual-spatial tasks. This nuanced pattern of results broadly supports the notion that art students differ from nonart students in their ability to exert top-down control over attentional processing, but not in the phenomenology of low-level visual processing. Implications for theories of artistic expertise are discussed. ispartof: PSYCHOLOGY OF AESTHETICS CREATIVITY AND THE ARTS vol:13 issue:1 pages:58-73 status: published

The ability to draw is a uniquely human activity, ubiquitous in childhood but seldom performed at expert levels in adulthood. Relative to other domains of expertise (chess, music, sport), drawing is understudied, and yet because it is a universal developmental ability mastered by so few, it provides an ideal test bed for competing theories of expertise. In this review, three strands of active research and debate in the field of expertise will be considered in relation to representational drawing ability: (a) the characterization of expertise in relation to altered visual attention and memory, (b) the relative roles of personality traits and cognitive abilities, and (c) the interaction between genes and environment in the development of expertise. The study of representational drawing sheds new light on these three strands and provides rich avenues for further research in this domain.

Performance on the Embedded Figures Test (EFT) has been interpreted as a reflection of local/global perceptual style, weak central coherence and/or field independence, as well as a measure of intelligence and executive function. The variable ways in which EFT findings have been interpreted demonstrate that the construct validity of this measure is unclear. In order to address this lack of clarity, we investigated to what extent performance on a new Embedded Figures Test (L-EFT) correlated with measures of intelligence, executive functions and estimates of local/global perceptual styles. In addition, we compared L-EFT performance to the original group EFT to directly contrast both tasks. Taken together, our results indicate that performance on the L-EFT does not correlate strongly with estimates of local/global perceptual style, intelligence or executive functions. Additionally, the results show that performance on the L-EFT is similarly associated with memory span and fluid intelligence as the group EFT. These results suggest that the L-EFT does not reflect a general perceptual or cognitive style/ability. These results further emphasize that empirical data on the construct validity of a task do not always align with the face validity of a task. ispartof: PeerJ vol:6 issue:3 pages:1-22 ispartof: location:United States status: published

We use the example of art-derived solace to discuss a broader mechanism by which negative affect is instrumental in creating positive appreciation of artworks. Based on the theory of predictive processing, we argue that increasing attunement or reduction of prediction errors, which implies increasing validation of the agent(‘s models), is experienced as positive, even if the artwork’s content is negative. ispartof: Behavioral and Brain Sciences vol:40 pages:41-42 ispartof: location:England status: published

A large body of research reports individual differences in local and global visual processing in relation to expertise, culture and psychopathology. However, recent research has suggested that various different measures of local-global processing are not strongly associated with one another, calling its construct validity into question. The current study sought to further explore the validity of local-global processing biases in perception by developing three tasks based on two existing paradigms: the Embedded Figures Test (EFT) and the Navon hierarchical letters task. The newly developed tasks aimed to control for stimulus and response factors that may have impacted upon the reliability of previous research. They were administered to a large sample of undergraduate students (N > 100). The results of two new versions of the EFT indicated that disembedding performance is influenced by the structure of the embedding context. In addition, global precedence and interference in the Navon task remained present even when local attentional approaches to global hierarchical stimuli were restricted. Inter-task correlations within the EFT were high but low between the EFT and the Navon task, lending support to the notion that local-global processing is not a monolithic construct, but representative of a number of distinct perceptual abilities and biases. Future research may use these task distinctions to pinpoint more precisely which aspects of perceptual processing characterise specific (clinical) participant populations.

The difficulty adults find in drawing objects or scenes from real life is puzzling, assuming that there are few gross individual differences in the phenomenology of visual scenes and in fine motor control in the neurologically healthy population. A review of research concerning the perceptual, motoric and memorial correlates of drawing ability was conducted in order to understand why most adults err when trying to produce faithful representations of objects and scenes. The findings reveal that accurate perception of the subject and of the drawing is at the heart of drawing proficiency, although not to the extent that drawing skill elicits fundamental changes in visual perception. Instead, the decisive role of representational decisions reveals the importance of appropriate segmentation of the visual scene and of the influence of pictorial schemas. This leads to the conclusion that domain-specific, flexible, top-down control of visual attention plays a critical role in development of skill in visual art and may also be a window into creative thinking. publisher: Elsevier articletitle: The genesis of errors in drawing journaltitle: Neuroscience & Biobehavioral Reviews articlelink: http://dx.doi.org/10.1016/j.neubiorev.2016.04.002 content_type: article copyright: © 2016 Elsevier Ltd. All rights reserved. ispartof: Neuroscience and Biobehavioral Reviews vol:65 pages:195-207 ispartof: location:United States status: published

BackgroundThe Embedded Figures Test (EFT, developed by Witkin and colleagues (1971)) has been used extensively in research on individual differences, particularly in the study of autism spectrum disorder. The EFT was originally conceptualized as a measure of field (in)dependence, but in recent years performance on the EFT has been interpreted as a measure of local versus global perceptual style. Although many have used the EFT to measure perceptual style, relatively few have focused on understanding the stimulus features that cause a shape to become embedded. The primary aim of this work was to investigate the relation between the strength of embedding and perceptual grouping on a group level.MethodNew embedded figure stimuli (both targets and contexts) were developed in which stimulus features that may influence perceptual grouping were explicitly manipulated. The symmetry, closure and complexity of the target shape were manipulated as well as its good continuation by varying the number of lines from the target that continued into the context. We evaluated the effect of these four stimulus features on target detection in a new embedded figures task (Leuven Embedded Figures Test, L-EFT) in a group of undergraduate psychology students. The results were then replicated in a second experiment using a slightly different version of the task.ResultsStimulus features that influence perceptual grouping, especially good continuation and symmetry, clearly affected performance (lower accuracy, slower response times) on the L-EFT. Closure did not yield results in line with our predictions.DiscussionThese results show that some stimulus features, which are known to affect perceptual grouping, also influence how effectively a stimulus becomes embedded in different contexts. Whether these results imply that the EFT measures individual differences in perceptual grouping ability must be further investigated.