Abstract
A large number of studies support the notion that synthetic images within a certain intermediate fractal-scaling range possess an intrinsic esthetic value. Interestingly, the fractal-scaling properties that define this intermediate range have also been found to characterize a vast collection of representational, abstract, and graphic art. While some have argued that these statistic properties only serve to maximize the visibility of the artworks’ spatial structure, others argue that they are intrinsically tied to the artworks’ esthetic appeal. In this study, we bring together these two threads of research and make a direct comparison between visual preference for varying fractal-scaling characteristics in both synthetic images and artworks. Across two studies, viewers ranked and rated sets of synthetic noise images and artworks that systematically varied in fractal dimension for liking, pleasantness, complexity, and interestingness. We analyzed both average and individual patterns of preference between the two image classes. Average preference peaked for intermediate fractal dimension values for both categories, but individual patterns of preferences for both high and low values also emerged. Correlational analyses indicated that individual preferences between the two image classes remained moderately consistent and were improved when the fractal dimensions between synthetic images and artworks were more closely matched. Overall, these findings further support the role of fractal-scaling statistics both as a key determinant of an object’s esthetic value and as a valuable predictor of individual differences in esthetic preference.
Highlights
Since the introduction of fractal geometry by Mandelbrot (1977), interest in the universality and esthetic appeal of fractal-like statistics has taken many forms
When analyzed by separate image categories, we found that the three variations of synthetic fractal images all separately exhibited preference peaks at the intermediate D level
An analysis of individual differences highlighted three distinctive preference patterns: preference for low fractal dimension (33.05%), intermediate fractal dimension (40.13%), and high fractal dimension (26.82%). These preference patterns were consistent across both synthetic fractal images and artworks
Summary
Since the introduction of fractal geometry by Mandelbrot (1977), interest in the universality and esthetic appeal of fractal-like statistics has taken many forms. At their core, fractals are patterns characterized by repeating spatial characteristics at increasingly fine scales (Mandelbrot, 1977; Forsythe et al, 2011). Many objects in the natural world are characterized by a fractal geometry, for example, the outline of a cloud or the shape of a coastline. In contrast to exact fractal patterns, the spatial structures of natural objects, textures, and scenes are statistical fractals and contain a degree of randomness. Statistical fractals look alike across different spatial scales in regard to their spatial qualities, such as roughness, density, or complexity
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