Universality and specificity of the kindchenschema: A cross-cultural study on cute rectangles.

Abstract

This study investigates the effect of kindchenschema across cultures. The kindchenschema is a gestalt that triggers a special protective behavior (Lorenz, 1970). We adopted a normative approach, which searches for possible objective aesthetics and canonic values (i.e. normative aesthetics; Crowther, 2004), and conducted a pretest, where it was inquired whether we could transfer the canonic rules of “looking cute” into five dimensions: small size, light-color, tilted angle, wide, and round shape. 229 participants completed a task in which they modified a rectangle for the parameters of size, color, angle, height-width ratio, and roundness to create a “cute rectangle.” As predicted, the “cute rectangles” created by participants were significantly smaller, lighter, more tilted, or rounder than the reference shape. The canonic rules of cuteness were confirmed by the pretest data. In the main study, type of cultural self-construals (independent or interdependent) was hypothesized as a significant predictor that differentiates the evaluation of cuteness aesthetics. 228 participants from Estonia, South Korea, and the United States (N = 228) evaluated 32 rectangles with a high or low level of the 5 cuteness dimensions in 9 semantic differential scales along with the perceived cuteness. The findings suggest that an individual’s interdependent cultural self-construal is a determinant factor in the perception of cuteness. We then discuss the theoretical and practical implication of cuteness aesthetics with regard to cultural self-construals, caring behaviors, and the perception of others.

Colour Preferences for Surface Shapes on Residential Interior Walls

“…Jacobsen (2002) concluded that no colour-shape associations can be universally applied across all cultures. Likewise, Cho et al (2020) noted that the perception of cuteness in a rectangle shape depends on interdependent cultural self-construct related to their culture. Moreover, Albertazzi (2013) and Chen et al (2015a) uncovered similarities and differences between Italian and Japanese participants in their respective studies.…”

“…Chen et al (2015a) stated that curved lines (circle, oval, truncated cone) are warm and thus are related to RR (red), YY (yellow), and YR (orange); sharp lines (triangle, rhombus, cone, pyramid) are related to YY, whereas square, parallelogram, hexagon, trapezium, truncated pyramid, which are neither sharp nor curve, are cold thus they are associated with BB (blue), BG (blue-green), and GG (green). In an empirical study, participants were asked to create a 'cute' rectangle, and they ended with a more light-coloured rectangular than the reference one (Cho et al, 2020). Another previous research study shows that there is a correlation between colour and shape preferences: participants who preferred simple shapes also tended to prefer light or warm colours, while those who preferred complex shapes showed a tendency towards dark or cold colours (Chen et al, 2015c, p. 188) claiming that these preferences are rooted in the semantic information associated with visual stimuli.…”

The construct of cuteness: A validity study for measuring content and evoked emotions on social media

“…Kindchenschema can even be extended to inanimate, abstract objects such as geometric shapes. Cho et al (2020) had participants modify rectangles along five parameters (size, color, angle, height-width ratio, and roundness) to produce "cute" rectangles, and as hypothesized those rectangles determined to be "cute" conformed to the Kindchenschema characteristics (such as rounder edges and smaller size).…”

Cultural-match effect on the appreciation of traditional and contemporary visual arts: Evidence from Poland and Hong Kong.

“…(Nisbett et al, 2001, p. 307) Cross-cultural psychologists have recognized that cultural variations exist at the fundamental levels of our processing, from how we conceptualize the self to how we perceive the world (Markus & Kitayama, 1991;Masuda et al, 2012;Nisbett et al, 2001). Over the past 20 years, cross-cultural studies related to art and aesthetic experiences have gained momentum and illuminated the area overlapping art research and cross-cultural research (Bao et al, 2016;Cho et al, 2020;Darda & Cross, 2022;Ishii et al, 2014;Masuda, Gonzalez, et al, 2008;Nand et al, 2014;Senzaki et al, 2014;Trawi nski et al, 2021;Wang & Ishizaki, 2002;Yang et al, 2019). According to Pöppel (2018), the implication of cross-cultural art research is twofold.…”