By Emma Young
Picture yourself sitting in a Zen garden, surrounded by low, rounded bushes and gravel raked into rippling swirls. Now imagine standing in front of a brutalist building, all straight lines and sharp edges. If you think you’d feel more relaxed in the Zen garden, there could be a low-level perceptual reason — one that could explain everything from why you’re far more likely to find a jagged script on the cover of a death metal album than on a romance novel, to why clouds and lullabies seem to go together.
The , published in Proceedings of the Royal Society B, suggests that we automatically associate variations in one particular property of images or sounds with variations in levels of emotional arousal. This gives us an instinctive understanding, just from the tone of someone’s voice or watching their movements, of whether they are angry or sad, excited or calm. But it seems that these associations between perception and emotion are so automatic and fundamental that we apply them to inanimate objects, as well.