![]() Novelty and familiarity, which are two sides of the same coin that influences aesthetic preference, have been recognized as important components of aesthetic appreciation at a relatively early processing stage subsequent to perceptual analyses ( Leder et al., 2004 Pelowski et al., 2017) and as competing components about aesthetic preference ( Bornstein, 1989 Leder and Nadal, 2014 Montoya et al., 2017). Novelty is essential to understanding aesthetic preferences in the field of empirical aesthetics ( Berlyne, 1950, 1970 Menninghaus et al., 2019), along with various perceptual (e.g., complexity, symmetry, golden ratio), emotional (e.g., pleasure, empathy, awe), and cognitive (e.g., knowledge, expertise, context) attributes that influence preference decisions ( Imamoglu, 2000 Leder et al., 2004 Chatterjee and Vartanian, 2014 Chassy et al., 2015 Street et al., 2016 Jacobsen and Beudt, 2017 Tiihonen et al., 2017). Novelty seeking is not only one of the fundamental propensities of human beings ( Fantz, 1964) but also a critical value that is pursued in art ( Martindale, 1990 Hekkert and van Wieringen, 1996). “ An active striving to encounter new experiences, and to assimilate and understand them when encountered, underlies a huge variety of activities highly esteemed by society, from those of the scientist, the artist and the philosopher to those of the polar explorer and the connoisseur of wines” ( Berlyne, 1950). Taken together, the convergent results derived from behavioral and eye-tracking measures imply that novelty is an important feature of aesthetic appreciation, but its influence is modulated by properties of both the artwork and the beholder. Gaze results showed the differential effects of painting content, complexity, and art experience echoing the behavioral results. Also, the familiarity-novelty preference was modulated by the degree of art experience, for abstract paintings in particular. Behavioral results demonstrated an interactive influence of painting content and complexity on familiarity-novelty preference, especially alongside the distinction between representational and abstract paintings. They were asked to indicate which of the two images they preferred with the degree of their preference. Participants were presented with two images of paintings, one of which was repeatedly presented but was always paired with a new painting in a randomized lateral arrangement. ![]() Using both behavioral and eye-tracking measures, the present study aimed to investigate whether the effect of familiarity-novelty on aesthetic preference is independent or dependent on artwork properties (painting content, visual complexity) and viewer characteristics (experience in art). ![]() However, whether people prefer familiar paintings or novel paintings has not been clear. School of Psychology, Korea University, Seoul, South Koreaįamiliarity and novelty are fundamental yet competing factors influencing aesthetic preference.Jiwon Song, Yuna Kwak and Chai-Youn Kim * ![]()
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