Abstract:Recent studies suggest that humans prefer information that is linked to the process of prediction. Yet it remains to be specified whether preference judgments are biased to information that can be predicted, or information that enables to predict. We here use a serial reaction time task to disentangle these two options. In a first learning phase, participants were exposed to a continuous stream of arbitrary shapes while performing a go/no-go task. Embedded in this stream were hidden pairs of go-stimuli (e.g., … Show more
“…An important role of unexpected events, or prediction errors, has more recently been suggested in aesthetic judgment (Chetverikov & Kristjánsson, 2016;Trapp, Shenhav, Bitzer, & Bar, 2015;Van de Cruys et al, 2014;Van de Cruys & Wagemans, 2011). One recent study observed a higher preference for predictive stimuli relative to non-predictive (i.e., randomly predictive) ones (Braem & Trapp, 2017). This seems consistent with the decreasing trend at the right side of the inverted-U, although we must be cautious: First, this work found an effect specifically for predictive, not for predictable, stimuli.…”
Stimulus complexity is an important determinant of aesthetic preference. An influential idea is that increases in stimulus complexity lead to increased preference up to an optimal point after which preference decreases (inverted-U pattern). However, whereas some studies indeed observed this pattern, most studies instead showed an increased preference for more complexity. One complicating issue is that it remains unclear how to define complexity. To address this, we approached complexity and its relation to aesthetic preference from a predictive coding perspective. Here, low-and high-complexity stimuli would correspond to low and high levels of prediction errors, respectively. We expected participants to prefer stimuli which are neither too easy to predict (low prediction error), nor too difficult (high prediction error). To test this, we presented two sequences of tones on each trial that varied in predictability from highly regular (low prediction error) to completely random (high prediction error), and participants had to indicate which of the two sequences they preferred in a two-interval forced-choice task. The complexity of each tone sequence (amount of prediction error) was estimated using entropy. Results showed that participants tended to choose stimuli with intermediate complexity over those of high or low complexity. This confirms the century-old idea that stimulus complexity has an inverted-U relationship to aesthetic preference.
“…An important role of unexpected events, or prediction errors, has more recently been suggested in aesthetic judgment (Chetverikov & Kristjánsson, 2016;Trapp, Shenhav, Bitzer, & Bar, 2015;Van de Cruys et al, 2014;Van de Cruys & Wagemans, 2011). One recent study observed a higher preference for predictive stimuli relative to non-predictive (i.e., randomly predictive) ones (Braem & Trapp, 2017). This seems consistent with the decreasing trend at the right side of the inverted-U, although we must be cautious: First, this work found an effect specifically for predictive, not for predictable, stimuli.…”
Stimulus complexity is an important determinant of aesthetic preference. An influential idea is that increases in stimulus complexity lead to increased preference up to an optimal point after which preference decreases (inverted-U pattern). However, whereas some studies indeed observed this pattern, most studies instead showed an increased preference for more complexity. One complicating issue is that it remains unclear how to define complexity. To address this, we approached complexity and its relation to aesthetic preference from a predictive coding perspective. Here, low-and high-complexity stimuli would correspond to low and high levels of prediction errors, respectively. We expected participants to prefer stimuli which are neither too easy to predict (low prediction error), nor too difficult (high prediction error). To test this, we presented two sequences of tones on each trial that varied in predictability from highly regular (low prediction error) to completely random (high prediction error), and participants had to indicate which of the two sequences they preferred in a two-interval forced-choice task. The complexity of each tone sequence (amount of prediction error) was estimated using entropy. Results showed that participants tended to choose stimuli with intermediate complexity over those of high or low complexity. This confirms the century-old idea that stimulus complexity has an inverted-U relationship to aesthetic preference.
“…Reducing uncertainty and increasing predictability has been discussed as a fundamental human need (Heider, 1958;Hogg, 2000;Kagan, 1972), with the pleasure of predictability deriving from the perceived ability to anticipate and control our environment. Whereas predictability facilitates attentional orienting, processing, and performance (e.g., Alink et al, 2010;Coull & Nobre, 1998;Posner et al, 1980) and is processed as rewarding by the brain (e.g., Braem & Trapp, 2019;Trapp et al, 2015), unpredictability is experienced as aversive (e.g., Heine et al, 2006;Proulx et al, 2012;Schubert et al, 2017;Topolinski & Strack, 2015) and increases stress and physiological arousal (e.g., de Berker et al, 2016;Herry et al, 2007;Jackson et al, 2015;Mendes et al, 2007;Peters et al, 2017).…”
For financial decision-making, people trade off the expected value (return) and the variance (risk) of an option, preferring higher returns to lower ones and lower risks to higher ones. To make decision-makers indifferent between a risky and risk-free option, the expected value of the risky option must exceed the value of the risk-free option by a certain amount—the risk premium. Previous psychological research suggests that similar to risk aversion, people dislike inconsistency in an interaction partner’s behavior. In eight experiments (total N = 2,412) we pitted this inconsistency aversion against the expected returns from interacting with an inconsistent partner. We identified the additional expected return of interacting with an inconsistent partner that must be granted to make decision-makers prefer a more profitable, but inconsistent partner to a consistent, but less profitable one. We locate this inconsistency premium at around 31% of the expected value of the risk-free option.
“…When eventually asked which layout they prefer, participants significantly chose the predictive over the random layout. Braem and Trapp ( 2019 ) showed that when exposed to a series of subsequently presented stimuli with hidden pairs, i.e., one stimulus predicted the occurrence of another, participants preferred the stimulus that had helped them to make predictions over random and over the predicted stimulus. This could indicate that facilitated predictive processing is tagged as inherently positive.…”
The prevalence of depressive symptoms decreases from late adolescence to middle age adulthood. Furthermore, despite significant losses in motor and cognitive functioning, overall emotional well-being tends to increase with age, and a bias to positive information has been observed multiple times. Several causes have been discussed for this age-related development, such as improvement in emotion regulation, less regret, and higher socioeconomic status. Here, we explore a further explanation. Our minds host mental models that generate predictions about forthcoming events to successfully interact with our physical and social environment. To keep these models faithful, the difference between the predicted and the actual event, that is, the prediction error, is computed. We argue that prediction errors are attenuated in the middle age and older mind, which, in turn, may translate to less negative affect, lower susceptibility to affective disorders, and possibly, to a bias to positive information. Our proposal is primarily linked to perceptual inferences, but may hold as well for higher-level, cognitive, and emotional forms of error processing.
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