What is the relationship between complexity in the world and complexity in the mind? Intuitively, increasingly complex objects and events should give rise to increasingly complex mental representations (or perhaps a plateau in complexity after a certain point). However, a counterintuitive possibility with roots in information theory is an inverted U-shaped relationship between the “objective” complexity of some stimulus and the complexity of its mental representation, because excessively complex patterns might be characterized by surprisingly short computational descriptions (e.g., if they (...) are represented as having been generated “randomly”). Here, we demonstrate that this is the case, using a novel approach that takes the notion of “description” literally. Subjects saw static and dynamic visual stimuli whose objective complexity could be carefully manipulated, and they described these stimuli in their own words by giving freeform spoken descriptions of them. Across three experiments totaling over 10,000 speech clips, spoken descriptions of shapes (Experiment 1), dot-arrays (Experiment 2), and dynamic motion-paths (Experiment 3) revealed a striking quadratic relationship between the raw complexity of these stimuli and the length of their spoken descriptions. In other words, the simplest and most complex stimuli received the shortest descriptions, while those stimuli with a “medium” degree of complexity received the longest descriptions. Follow-up analyses explored the particular words used by subjects, allowing us to further explore how such stimuli were represented. We suggest that the mind engages in a kind of lossy compression for overly complex stimuli, and we discuss the utility of such freeform responses for exploring foundational questions about mental representation. (shrink)

Some things look more complex than others. For example, a crenulate and richly organized leaf may seem more complex than a plain stone. What is the nature of this experience—and why do we have it in the first place? Here, we explore how object complexity serves as an efficiently extracted visual signal that the object merits further exploration. We algorithmically generated a library of geometric shapes and determined their complexity by computing the cumulative surprisal of their internal skeletons—essentially quantifying the (...) “amount of information” within each shape—and then used this approach to ask new questions about the perception of complexity. Experiments 1–3 asked what kind of mental process extracts visual complexity: a slow, deliberate, reflective process (as when we decide that an object is expensive or popular) or a fast, effortless, and automatic process (as when we see that an object is big or blue)? We placed simple and complex objects in visual search arrays and discovered that complex objects were easier to find among simple distractors than simple objects are among complex distractors—a classic search asymmetry indicating that complexity is prioritized in visual processing. Next, we explored the function of complexity: Why do we represent object complexity in the first place? Experiments 4–5 asked subjects to study serially presented objects in a self‐paced manner (for a later memory test); subjects dwelled longer on complex objects than simple objects—even when object shape was completely task‐irrelevant—suggesting a connection between visual complexity and exploratory engagement. Finally, Experiment 6 connected these implicit measures of complexity to explicit judgments. Collectively, these findings suggest that visual complexity is extracted efficiently and automatically, and even arouses a kind of “perceptual curiosity” about objects that encourages subsequent attentional engagement. (shrink)

The arts are one of the most complex of human endeavours, and so it is fitting that a special issue on Complex Systems in Aesthetics and Arts is being published. As the editors of this special issue, we would like to thank the reviewers of the submitted papers for their hard work in making this issue possible, as well as the authors who submitted their work and were very responsive to the comments of the reviewers and editors.

Cognitive Science, Volume 46, Issue 2, February 2022.

Humans have the ability to learn surprisingly complicated statistical information in a variety of modalities and situations, often based on relatively little input. These statistical learning (SL) skills appear to underlie many kinds of learning, but despite their ubiquity, we still do not fully understand precisely what SL is and what individual differences on SL tasks reflect. Here, we present experimental work suggesting that at least some individual differences arise from stimulus-specific variation in perceptual fluency: the ability to rapidly or (...) efficiently code and remember the stimuli that SL occurs over. Experiment 1 demonstrates that participants show improved SL when the stimuli are simple and familiar; Experiment 2 shows that this improvement is not evident for simple but unfamiliar stimuli; and Experiment 3 shows that for the same stimuli (Chinese characters), SL is higher for people who are familiar with them (Chinese speakers) than those who are not (English speakers matched on age and education level). Overall, our findings indicate that performance on a standard SL task varies substantially within the same (visual) modality as a function of whether the stimuli involved are familiar or not, independent of stimulus complexity. Moreover, test–retest correlations of performance in an SL task using stimuli of the same level of familiarity (but distinct items) are stronger than correlations across the same task with stimuli of different levels of familiarity. Finally, we demonstrate that SL performance is predicted by an independent measure of stimulus-specific perceptual fluency that contains no SL component at all. Our results suggest that a key component of SL performance may be related to stimulus-specific processing and familiarity. (shrink)

ABSTRACTAlthough item-memory for emotional information is enhanced, memory for associations between items is often impaired for negative, emotionally arousing compared to neutral information. We te...