Aesthetic sensitivity has been defined as the ability to recognize and appreciate beauty and compositional excellence, and to judge artistic merit according to standards of aesthetic value. The Visual Aesthetic Sensitivity Test (VAST) has often been used to assess this ability, but recent research has revealed it has several psychometric problems. Such problems are not easily remedied, because they reflect flawed assumptions inherent to the concept of aesthetic sensitivity as traditionally understood, and to the VAST itself. We introduce a new conception of aesthetic sensitivity defined as the extent to which someone's aesthetic valuation is influenced by a given feature. Experiment 1 aimed to characterize aesthetic sensitivity to four prominent features in visual aesthetics: complexity, symmetry, contour, and balance. Experiment 2 aimed to replicate the findings of Experiment 1 and to assess the test-retest reliability of an instrument designed to measure aesthetic sensitivity to these features using an abridged set of stimuli. Our results reveal that people differ remarkably in the extent to which visual features influence their liking, highlighting the crucial role of individual variation when modelling aesthetic preferences. We did not find clear relations between the four measures of aesthetic sensitivity and personality, intelligence, and art interest and knowledge. Finally, our measurement instrument exhibited an adequate-to-good test-retest reliability.

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Preference for curvature has been demonstrated using many types of stimuli, but it remains an open question whether curvature plays a relevant role in responses to original artworks. To investigate this, a novel set of paintings was created, consisting of three variations-curved, sharp-angled, and mixed-of the same 16 indeterminate subjects. The present research aimed to differentiate between liking and wanting decisions. We assessed liking both online (Study 1) and in the lab (Study 2, Task 2), using a continuous slider and a dichotomous forced choice, respectively. In both tasks, participants assigned higher ratings to the curved compared to the sharp-angled version of the paintings. Similarly, when participants were explicitly asked if they wanted to take the paintings home, they assigned higher wanting ratings to the curved version (Study 2, Task 3). However, when they were asked to act as a curator selecting the works they wanted for their gallery (Study 2, Task 4) and to make a physical effort to visually consume the painting (implicit wanting; Study 2, Task 1), no significant difference was found. Finally, we found that implicit wanting decisions did not predict liking for paintings, while liking predicted explicit wanting of the artworks in both the home and art contexts. This confirmed that it is possible to differentiate between liking and wanting responses to artistically relevant stimuli. We conclude that this theoretical distinction helps to explain previous conflicting results on the curvature effect, establishing a new line of research in the field of empirical aesthetics.

Objects with curved contours are generally preferred to sharp-angled ones. In this study, we aim to determine whether different presentation times influence this preference. We used images of real objects (experiment 1) and meaningless novel patterns (experiment 2). Participants had to select one of two images from a contour pair, curved and sharp-angled versions of the same object/pattern. With real objects, the preference for curved versions was greatest when presented for 84 ms, and it faded when participants were given unlimited viewing time. Curved meaningless patterns were preferred when presented for 84 and 150 ms. However, in contrast to real objects, preference for meaningless patterns increased significantly in the unlimited viewing time condition. Participants discriminated poorly between the two versions (curved and sharp-angled) of the meaningless patterns in the 84-and 150-ms presentations (experiment 3). Therefore, in short times with meaningless patterns, participants selected mostly the curved version without being aware of the difference. In conclusion, presentation time, type of stimulus, and their interaction influence preference for curvature.

Drawing is a way to represent common-use objects. The contour of an object is a salient feature that defines its identity. Preference for a contour (curved or angular) may depend on how familiar the resulting shape looks for that given object. In this research, we examined the influence of shape familiarity on preference for curved or sharp-angled drawings of common-use objects. We also examined the possibility that some individual differences modulated this preference. Preference for curvature was assessed with a liking rating task (Experiment 1) and with a two-alternative forced-choice task simulating approach/avoidance responses (Experiment 2). Shape familiarity was assessed with a familiarity selection task where participants selected the most familiar shape between the curved and the angular version for each object, or whether both shapes were equally familiar for the object. We found a consistent preference for curvature in both experiments. This preference increased when the objects with a curved shape were selected as the most familiar ones. We also found preference for curvature when participants selected the shape of objects as equally familiar. However, there was no preference for curvature or preference for angularity when participants selected the sharp-angled shapes as the most familiar ones. In Experiment 2, holistic and affective types of intuition predicted higher preference for curvature. Conversely, participants with higher scores in the unconventionality facet showed less preference for the curved drawings. We conclude that shape familiarity and individual characteristics modulate preference for curvature.

Evidence dating back a century suggests that humans are sensitive to and exhibit a preference for visual curvature. Recently, this effect has been observed in different age groups, human cultures, and primate species, suggesting that a preference for curvature might be universal. At the same time, several studies have found preference for curvature to be modulated by contextual and individual factors, casting doubt on this hypothesis. To resolve these conflicting findings, we conducted a systematic meta-analysis of studies that have investigated preference for visual curvature. The results of a three-level random effects model revealed a Hedges' g of .39-consistent with a medium effect size. Further analyses revealed preference for curvature to be moderated by four factors: Presentation time, stimulus type, expertise, and task. Together, our results suggest that preference for visual curvature is a reliable but not universal phenomenon, and influenced by factors other than perceptual information.

Lines contribute to the visual experience of drawings. People show a higher preference for curved than sharp angled lines. We studied preference for curvature using drawings of commonly-used objects drawn by design students. We also investigated the relationship of that preference with drawing preference. Experiments 1 and 2 revealed preference for the curved drawings in the laboratory and web-based contexts, respectively. Experiment 3 showed that the curved drawings were also preferred to draw than the sharp-angled ones. However, this effect only appeared when the drawings were made by hand, but not when they were made by computer. We found a moderate positive correlation between liking and drawing preference. This relationship was mainly explained by the hand-made drawings. Sex, art experience and openness to experience did not influence preference for curvature. Altogether, our findings support the curvature effect and the hypothesis that people prefer to draw what they like to see.