Investigating preferences for color-shape combinations with gaze driven optimization method based on evolutionary...

Studying aesthetic preference is notoriously difficult because it targets individual experience. Eye movements provide a rich source of behavioral measures that directly reflect subjective choice. To determine individual preferences for simple composition rules we here use fixation duration as the fitness measure in a Gaze Driven Evolutionary Algorithm (GDEA), which has been demonstrated as a tool to identify aesthetic preferences (Holmes and Zanker, 2012). In the present study, the GDEA was used to investigate the preferred combination of color and shape which have been promoted in the Bauhaus arts school. We used the same three shapes (square, circle, triangle) used by Kandinsky (1923), with the three color palette from the original experiment (A), an extended seven color palette (B), and eight different shape orientation (C). Participants were instructed to look for their preferred circle, triangle or square in displays with eight stimuli of different shapes, colors and rotations, in an attempt to test for a strong preference for red squares, yellow triangles and blue circles in such an unbiased experimental design and with an extended set of possible combinations. We Tested six participants extensively on the different conditions and found consistent preferences for color-shape combinations for individuals, but little evidence at the group level for clear color/shape preference consistent with Kandinsky's claims, apart from some weak link between yellow and triangles. Our findings suggest substantial inter-individual differences in the presence of stable individual associations of color and shapes, but also that these associations are robust within a single individual. These individual differences go some way toward challenging the claims of the universal preference for color/shape combinations proposed by Kandinsky, but also indicate that a much larger sample size would be needed to confidently reject that hypothesis. Moreover, these experiments highlight the vast potential of the GDEA methodology in experimental aesthetics and beyond.