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It has been shown previously that liking and valence of associations in response to artworks show greater convergence across viewers for representational than for abstract artwork. The current research explored whether the same applies to the semantic content of the associations. We used data gained with an adapted unique corporate association valence measure, which invited 24 participants to give short verbal responses to 11 abstract and 11 representational artworks. We paired the responses randomly to responses given to the same artwork and computed semantic similarity scores using UMBC Ebiquity software. This showed significantly greater semantic similarity scores for representational than for abstract art. A control analysis in which responses were randomly paired with responses from the same category (abstract, representational) showed no significant results, ruling out a baseline effect. For both abstract and representational artworks, randomly paired responses resembled each other less than responses from the same artworks, but the effect was much larger for representational artworks. Our work shows that individuals share semantic associations with other viewers in response to artworks to a greater extent when the artwork is representational than when it is abstract. Our novel method shows potential utility for many areas of psychology that aim to understand the semantic convergence of people's verbal responses, not least aesthetic psychology.

We examined the finding that aesthetic evaluations are more similar across observers for representational images than for abstract images. It has been proposed that a difference in convergence of observers' tastes is due to differing levels of shared semantic associations (Vessel & Rubin, 2010). In Experiment 1, student participants rated 20 representational and 20 abstract artworks. We found that their judgments were more similar for representational than abstract artworks. In Experiment 2, we replicated this finding, and also found that valence ratings given to associations and meanings provided in response to the artworks converged more across observers for representational than for abstract art. Our empirical work provides insight into processes that may underlie the observation that taste for representational art is shared across individual observers, while taste for abstract art is more idiosyncratic.

The position of an item influences its evaluation, with research consistently finding that items occupying central locations are preferred and have a higher subjective value. The current study investigated whether this centre-stage effect (CSE) is a result of bottom-up gaze allocation to the central item, and whether it is affected by item valence. Participants (n=50) were presented with three images of artistic paintings in a row and asked to choose the image they preferred. Eye movements were recorded for a subset of participants (n=22). On each trial the three artworks were either similar but different, or were identical and with positive valence, or were identical and with negative valence. The results showed a centre-stage effect, with artworks in the centre of the row preferred, but only when they were identical and of positive valence. Significantly greater gaze allocation to the central and left artwork was not mirrored by equivalent increases in preference choices. Regression analyses showed that when the artworks were positive and identical the participants' last fixation predicted preference for the central art-work, whereas the fixation duration predicted preference if the images were different. Overall the result showed that item valence, rather than level of gaze allocation, influences the CSE, which is incompatible with the bottom-up gaze explanation. We propose that the centre stage heuristic, which specifies that the best items are in the middle, is able to explain these findings and the centre-stage effect., (Copyright © 2014 Elsevier B.V. All rights reserved.)

A long-standing and important question is how meaning is generated by visual art. One view is that abstract art uses a universal language, whereas representational art is tied to specific knowledge. This view predicts that meaning for abstract is shared across viewers to a greater extent than for representational art. This contrasts with a view of greater shared meaning for representational than abstract art, because of shared associations for the entities depicted in representational art, as supported by recent empirical findings. This study examined the contrasting predictions derived from these 2 views. Forty-nine nonexpert adult participants wrote brief descriptions of meanings that they attributed to 20 abstract and 20 representational artworks, generating a corpus of 1,918 texts. Computational analyses (semantic textual similarity, latent semantic analysis) and linguistic analysis (type-token ratio) provided triangulated quantitative data. Frequentist and Bayesian statistical analyses showed that meanings were shared to a somewhat greater extent for representational art but that meanings for abstract artworks were also shared above baseline. Triangulated human and machine analyses of the texts showed core shared meanings for both art types, derived from literal and metaphoric interpretations of visual elements. The findings support the view that representational art elicits higher levels of shared meaning than abstract art. The empirical findings can be used to enhance theoretical and computational models of aesthetic evaluation, and the rigorous new methodologies developed can be deployed in many other contexts. [ABSTRACT FROM AUTHOR]

The authors tested two contrasting theoretical predictions to establish whether semantic interpretations of abstract artworks had different lexical concreteness from those of representational artworks. In Experiment 1, 49 non-expert participants provided brief verbal interpretations of 20 abstract and 20 representational artworks. Frequentist and Bayesian Linear Mixed Models showed that the words' concreteness levels were robustly higher for interpretations of abstract artworks than representational artworks. This difference was present regardless of the inclusion or exclusion of function words. Potential diluting or inflating impacts on the effect due to the multi-word responses were examined in Experiment 2, in which 72 new participants provided single-word interpretations for the same artworks. The effect replicated with a larger effect size. The findings suggest that non-expert viewers prioritise establishing what is depicted over seeking deeper meanings if the depicted is not readily established perceptually. The findings are incompatible with the theoretical stance that abstract art has abstract meaning. Instead, the findings are consistent with complex models of aesthetic processing in which meaning may emerge in stages. The effect of art type on the concreteness of meaning is an important, hitherto undiscovered basic finding in empirical aesthetics. Our novel methods enable further research in this field. • Meaning for abstract art had higher word concreteness than for representational art. • Frequentist and Bayesian Linear Mixed Models showed robust effects. • The effect of art type on the lexical concreteness of meaning replicated • The effect was stronger in single-word than in multi-word responses. • Basic perceptual identification is prioritised over deeper art meaning. [ABSTRACT FROM AUTHOR]