Reber, Schwarz, Winkielman: Processing Fluency and Aesthetic Pleasure

     The expression “beauty is in the eye of the beholder,” while perhaps accurate, remains vague -- more appropriately, beauty is attributed to the fluency in which a viewer can intake and process aesthetics and stimuli. Objects which can be rapidly and reliably interpreted by its perceiver seem to almost universally prompt more positive responses, owing to many varying qualities including object symmetry, contrast and information saturation while also being attributed to the viewer’s history and familiarity with the subject. 

    The alacrity in which one can intake and interpret data, stimuli and information refers to one’s “processing fluency” (Reber 366). Generally speaking, subjects that require less processing in turn have been found to have a more positive effect on those viewing than other, more complex subjects. Often this is attributed to a feeling of “error-free processing,” and being able to accurately recognize the stimulus at hand, while also suggesting a familiarity with the subject -- upon which the successful recognition of the object only furthers one’s positive experience with it (366).

    This is not to say that the more simple the subject the more “beautiful” it is. Indeed, many consider the difference between “novice” and “expert” taste is an ability to more quickly process more difficult or complex patterns and subjects. While the Novice may appreciate the simplicity and “catchiness” of a Top 40 Pop Song, the Expert, conversely, is capable of truly appreciating and processing the intricate arpeggios and chords of Vivaldi. This is attributed to object familiarity and recognition (374).

    The familiarity principle (or mere-exposure effect) refers to a psychological theory that posits that human beings have a tendency to develop a preference toward that which is already known or familiar to them. This differs from novel stimuli in that familiar stimuli predictably takes less time to process -- by previous exposure to the subject, or “priming,” the gaps are effectively filled in, and our ability to process the data requires decidedly less effort (370). In the aforementioned example, while the Expert may not have heard that particular concerto, their conceptual priming and familiarity with the workings of Vivaldi and other contemporary composers may allow them to configure their own expectations and attributions (372).

    However, one need not necessarily be familiar with a subject in order to easily process it and, therefore, find it beautiful.  Other factors have been found to contribute to objective perceptions and classifications of “beauty,” including qualities such as object symmetry, high-ground contrast, and goodness of form. As has been theorized in experiments involving human faces, symmetry is attributed to primeval instinct that is indicative of good qualities in a mate; in essence, a symmetrical face is a beautiful face. Similarly, contrast and clarity allow one to isolate the subject and hand from all other erroneous information -- a red rose in a field of winter snow may be aesthetically striking than a rose amidst a rose garden. Lastly, goodness of form, including the quality and fidelity of the subject, has also been attributed to aesthetic pleasure. It is believed that these qualities helps the brain fill in the gaps, once again, thus leading to more fluent processing (369).

    Can beauty, therefore, be something that is quantified and measured?  Can an object’s beauty be determined without emotion, bias or preference?  Science and psychology seems mixed on the subject.  On the one hand, personal experience, object familiarity, and the cognitive ability of any viewer is certain to color their own perception of an object -- therefore, one’s interpretation of stimuli can be said to be largely personal.  However, it must also be considered that many measurable and observable qualities (such as symmetry and contrast) found within the subject, itself, must contribute to one’s ability to fluently process this stimuli.


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