Jason Tangen

The Style of a Category

Humans and non-humans are remarkably sensitive to style. We recognise the works of artists and composers, a sense of what does and does not belong to a particular genre of writing, what drivers in the right lane are likely to do that drivers in the left are not, or what a normal interaction with a teller at our bank is like. Often this sensitivity develops effortlessly and without any intention to learn them. Many animals, such as chimpanzees, rats, pigeons, and fish can demonstrate similar sensitivities to style in art, music, and even handwriting. For example, we demonstrated that even honeybees can learn to distinguish paintings by Monet from those by Picasso (Wu, Moreno, Tangen, & Reinhard, 2013). The visual style of a category refers to the features and visual cues that covary across images. For example, Monet was certainly fond of waterlilies, but this feature certainly doesn’t define his artistic style. It’s the same notion as Wittgenstein’s description of various “games” — board games and ball games have some commonalities, but also many differences. It is only when you look across several instances that a resemblance emerges. For example, we demonstrated that people are able to remember images that have been downscaled to a single pixel and can distinguish between categories well above chance with images that are only 2x2 pixels (Searston, Thompson, Vokey, French, & Tangen, 2019). Much of the research in our lab is based on this notion of style since this sensitivity influences our performance in virtually every task that we undertake.