Pombo Maria, Igdalova Aleksandra, Pelli Denis G
Department of Psychology, New York University, New York, NY, USA.
Department of Psychology, Goldsmiths, University of London, London, UK.
iScience. 2024 Jun 8;27(7):110213. doi: 10.1016/j.isci.2024.110213. eCollection 2024 Jul 19.
Variance across participants is at the heart of the centuries-old debate about the universality of beauty. Beauty's belonging to the eye of the beholder implies large interindividual variance, while beauty as a universal object property implies the opposite. To characterize the variance at the center of this debate, we selected two quartets with either high- or low-variance images with high typicality and a given mean beauty. The quartets have high or low variance across 50 participants ( variance) and correspondingly high or low variance across images of a quartet for each participant ( variance). We asked 52 new participants to estimate their own mean and quartet variance. Participants successfully predicted their quartet mean but failed to predict their quartet variance. Though invisible, beauty variance is essential to prediction, both in theory and in practice. The quartets show that mean beauty is not the whole story - beauty variance is heterogeneous.
参与者之间的差异是关于美的普遍性这一由来已久的争论的核心。美在于观者的眼光这一观点意味着个体间存在很大差异，而美作为一种普遍的物体属性则意味着相反的情况。为了描述这场争论核心的差异，我们选择了两组四重奏，其中一组是具有高典型性和给定平均美感的高差异图像，另一组是低差异图像。这两组四重奏在50名参与者中具有高或低的差异（组间差异），并且对于每个参与者而言，四重奏的图像之间相应地具有高或低的差异（组内差异）。我们让52名新参与者估计他们自己的平均美感和四重奏差异。参与者成功预测了他们的四重奏平均美感，但未能预测他们的四重奏差异。尽管美之差异是无形的，但无论在理论上还是实践中，它对于预测都是至关重要的。这些四重奏表明，平均美感并非全部——美之差异是异质的。
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