Pub Date : 2021-10-25DOI: 10.1163/22134913-bja10029
P. Johnson-Laird, K. Oatley
Some people feel emotions when they look at abstract art. This article presents a ‘simulation’ theory that predicts which emotions they will experience, including those based on their aesthetic reactions. It also explains the mental processes underlying these emotions. This new theory embodies two precursors: an account of how mental models represent perceptions, descriptions, and self-reflections, and an account of the communicative nature of emotions, which distinguishes between basic emotions that can be experienced without knowledge of their objects or causes, and complex emotions that are founded on basic ones, but that include propositional contents. The resulting simulation theory predicts that abstract paintings can evoke the basic emotions of happiness, sadness, anger, and anxiety, and that they do so in several ways. In mimesis, models simulate the actions and gestures of people in emotional states, elicited from cues in the surface of paintings, and that in turn evoke basic emotions. Other basic emotions depend on synaesthesia, and both association and projection can yield complex emotions. Underlying viewers’ awareness of looking at a painting is a mental model of themselves in that relation with the painting. This self-reflective model has access to knowledge, enabling people to evaluate the work, and to experience an aesthetic emotion, such as awe or revulsion. The comments of artists and critics, and experimental results support the theory.
{"title":"Emotions, Simulation, and Abstract Art","authors":"P. Johnson-Laird, K. Oatley","doi":"10.1163/22134913-bja10029","DOIUrl":"https://doi.org/10.1163/22134913-bja10029","url":null,"abstract":"\u0000Some people feel emotions when they look at abstract art. This article presents a ‘simulation’ theory that predicts which emotions they will experience, including those based on their aesthetic reactions. It also explains the mental processes underlying these emotions. This new theory embodies two precursors: an account of how mental models represent perceptions, descriptions, and self-reflections, and an account of the communicative nature of emotions, which distinguishes between basic emotions that can be experienced without knowledge of their objects or causes, and complex emotions that are founded on basic ones, but that include propositional contents. The resulting simulation theory predicts that abstract paintings can evoke the basic emotions of happiness, sadness, anger, and anxiety, and that they do so in several ways. In mimesis, models simulate the actions and gestures of people in emotional states, elicited from cues in the surface of paintings, and that in turn evoke basic emotions. Other basic emotions depend on synaesthesia, and both association and projection can yield complex emotions. Underlying viewers’ awareness of looking at a painting is a mental model of themselves in that relation with the painting. This self-reflective model has access to knowledge, enabling people to evaluate the work, and to experience an aesthetic emotion, such as awe or revulsion. The comments of artists and critics, and experimental results support the theory.","PeriodicalId":42895,"journal":{"name":"CERAMICS-ART AND PERCEPTION","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77220677","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-30DOI: 10.1163/22134913-bja10027
Rachel A. Starr, Jonathan A. Smith
What is it like to look at a painting? Research into art viewing raises challenging considerations. Factors concerning the artwork, the viewer, the role of context, as well as conceptualisation of the response and how to measure it, present a wealth of complexity. Although such a topic might arguably lend itself to qualitative exploration, work of this type is notably sparse. In the research reported here, Interpretative Phenomenological Analysis was used to explore the experience of looking at a painting. Twelve participants were individually interviewed whilst viewing Las Meninas by Diego Velázquez. Three Master Themes were developed, the first of which, ‘The Gaze’, is presented in depth. Experiences of looking and being looked at by figures in the image are described and considered in relation to social and philosophical understandings of eye contact, seeing and being seen.
{"title":"“People are gazing” — An Interpretative Phenomenological Analysis of Viewing Velázquez","authors":"Rachel A. Starr, Jonathan A. Smith","doi":"10.1163/22134913-bja10027","DOIUrl":"https://doi.org/10.1163/22134913-bja10027","url":null,"abstract":"\u0000What is it like to look at a painting? Research into art viewing raises challenging considerations. Factors concerning the artwork, the viewer, the role of context, as well as conceptualisation of the response and how to measure it, present a wealth of complexity. Although such a topic might arguably lend itself to qualitative exploration, work of this type is notably sparse. In the research reported here, Interpretative Phenomenological Analysis was used to explore the experience of looking at a painting. Twelve participants were individually interviewed whilst viewing Las Meninas by Diego Velázquez. Three Master Themes were developed, the first of which, ‘The Gaze’, is presented in depth. Experiences of looking and being looked at by figures in the image are described and considered in relation to social and philosophical understandings of eye contact, seeing and being seen.","PeriodicalId":42895,"journal":{"name":"CERAMICS-ART AND PERCEPTION","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76363381","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-13DOI: 10.1163/22134913-BJA10024
Esma Betül Savaş, Thijs Verwijmeren, R. Lier
Interactive art, which is art that relies on the participation of a spectator and in which the spectators enter the creative process, has changed the way people relate with artworks. An experiment was conducted in a laboratory with an interactive artwork (Temporal Perspectives by Doruk Kumkuoğlu and Sadettin Bilal Savaş, 2016) to investigate whether interactivity is a factor that plays a role in the aesthetic emotions and creativity of the spectator. The results indicated a significant increase in beauty, in response to interactive art. Partial correlational network analyses were conducted to further investigate the emotional experience of the artworks in both conditions. These analyses showed differences between the conditions in the emotional response to interactive art. However, cognitive flexibility of participants did not differ between conditions. The results indicate that interactivity should be taken into account as an element that affects the perception of art.
{"title":"Aesthetic Experience and Creativity in Interactive Art","authors":"Esma Betül Savaş, Thijs Verwijmeren, R. Lier","doi":"10.1163/22134913-BJA10024","DOIUrl":"https://doi.org/10.1163/22134913-BJA10024","url":null,"abstract":"\u0000Interactive art, which is art that relies on the participation of a spectator and in which the spectators enter the creative process, has changed the way people relate with artworks. An experiment was conducted in a laboratory with an interactive artwork (Temporal Perspectives by Doruk Kumkuoğlu and Sadettin Bilal Savaş, 2016) to investigate whether interactivity is a factor that plays a role in the aesthetic emotions and creativity of the spectator. The results indicated a significant increase in beauty, in response to interactive art. Partial correlational network analyses were conducted to further investigate the emotional experience of the artworks in both conditions. These analyses showed differences between the conditions in the emotional response to interactive art. However, cognitive flexibility of participants did not differ between conditions. The results indicate that interactivity should be taken into account as an element that affects the perception of art.","PeriodicalId":42895,"journal":{"name":"CERAMICS-ART AND PERCEPTION","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84158512","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-01DOI: 10.1163/22134913-bja10018
J. Koenderink, A. van Doorn
‘Orange & Teal’ has become the preferred ‘look’ of the Hollywood movie industry. Is this craze just another arbitrary fashion? Possibly not, because ‒ apart from the name ‒ this palette has been around for ages in the visual arts. It is variously known as ‘painting in cool and warm,’ drawing a trois croyons, use of a ‘limited palette,’ and so forth. This leaves open the question of whether there might be one or more fundamental reasons for the preference for this particular dichromatic pair. Why not yellow–blue, red–turquoise, or green–purple? Reasons might be sought in human anatomy/physiology, physics of surface scattering, or the ecology of the human Umwelt. An in-depth analysis reveals that all these factors cooperate to render the orange & teal complementary palette indeed special. It involves world, body and mind and has to be understood in a proper semiotical (biological) setting.
{"title":"Orange & Teal","authors":"J. Koenderink, A. van Doorn","doi":"10.1163/22134913-bja10018","DOIUrl":"https://doi.org/10.1163/22134913-bja10018","url":null,"abstract":"‘Orange & Teal’ has become the preferred ‘look’ of the Hollywood movie industry. Is this craze just another arbitrary fashion? Possibly not, because ‒ apart from the name ‒ this palette has been around for ages in the visual arts. It is variously known as ‘painting in cool and warm,’ drawing a trois croyons, use of a ‘limited palette,’ and so forth. This leaves open the question of whether there might be one or more fundamental reasons for the preference for this particular dichromatic pair. Why not yellow–blue, red–turquoise, or green–purple? Reasons might be sought in human anatomy/physiology, physics of surface scattering, or the ecology of the human Umwelt. An in-depth analysis reveals that all these factors cooperate to render the orange & teal complementary palette indeed special. It involves world, body and mind and has to be understood in a proper semiotical (biological) setting.","PeriodicalId":42895,"journal":{"name":"CERAMICS-ART AND PERCEPTION","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78512982","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-10-28DOI: 10.1163/22134913-bja10015
H. De Corte
In the mid-1960s and early 1970s, David Hockney opted for a particular application of primer in the ground layers of some of his paintings — that is, a partial or ‘selective’ type of preparation. By selectively preparing certain areas with one or more layers of (gesso) priming, Hockney introduced a slightly higher and white pictorial plane in selected areas while retaining the properties of raw canvas in others. In one of Hockney’s most discussed paintings, Portrait of an Artist (Pool with Two Figures), for instance, selective preparation divided the surface and set the stage from the ground up. This paper examines the impact of this highly original and hybrid formula on perception by the viewer, focusing on how the eye registers the change in properties of the paint layer. It outlines Hockney’s investigation of the primed/unprimed opposition through the use of selective preparation, and the variety of effects it allowed him to achieve in one canvas. From its anecdotal use in 1960s road trip paintings to its more pronounced use in pool paintings in which Hockney used unprimed canvas to convey the ‘wetness’ of water, selective preparation was a device for him to compellingly increase contrasts and tension. Far from producing mere formal effects or serving solely as citations (of stain paintings for instance), the perceived technical oddity produces meaning. From the ground layers up, it deeply influences the perception, and thus the interpretation of the discussed paintings.
{"title":"Selective Preparation of Canvas as an ‘Artistic Device’ in David Hockney’s Early Paintings (1964–1972)","authors":"H. De Corte","doi":"10.1163/22134913-bja10015","DOIUrl":"https://doi.org/10.1163/22134913-bja10015","url":null,"abstract":"In the mid-1960s and early 1970s, David Hockney opted for a particular application of primer in the ground layers of some of his paintings — that is, a partial or ‘selective’ type of preparation. By selectively preparing certain areas with one or more layers of (gesso) priming, Hockney introduced a slightly higher and white pictorial plane in selected areas while retaining the properties of raw canvas in others. In one of Hockney’s most discussed paintings, Portrait of an Artist (Pool with Two Figures), for instance, selective preparation divided the surface and set the stage from the ground up. This paper examines the impact of this highly original and hybrid formula on perception by the viewer, focusing on how the eye registers the change in properties of the paint layer. It outlines Hockney’s investigation of the primed/unprimed opposition through the use of selective preparation, and the variety of effects it allowed him to achieve in one canvas. From its anecdotal use in 1960s road trip paintings to its more pronounced use in pool paintings in which Hockney used unprimed canvas to convey the ‘wetness’ of water, selective preparation was a device for him to compellingly increase contrasts and tension. Far from producing mere formal effects or serving solely as citations (of stain paintings for instance), the perceived technical oddity produces meaning. From the ground layers up, it deeply influences the perception, and thus the interpretation of the discussed paintings.","PeriodicalId":42895,"journal":{"name":"CERAMICS-ART AND PERCEPTION","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-10-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90579108","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-10-28DOI: 10.1163/22134913-20190834
J. Stumpel, M. Wijntjes
Material perception — the visual perception of stuff — is an emerging field in vision science, as Filipp Schmidt states in this special issue on The Skin of Things. Remarkably, this can also be said for research in art history. In art studies there has been plenty of attention for the perception of space, depth cues, and various perspective systems to create 3D-worlds. One might almost call it an obsession – from White (1957) to Willats (1997), from Panofsky (1927) to Kubovy (1968). All the while, preciously little has been done on the recognition and rendering of stuff. It is not so easy to explain this situation − particularly when we look at the history of art. During approximately the last 500 hundred years of Western painting for instance, the rendering of material properties was of paramount importance for artist and audience alike. One can think of the reaction the Englishman John Pepys jotted down in his diary in 1669, upon viewing a flower still life by Simon Verelst. Here poppies and a tulip were delicately painted, each flower with the subtle surface characteristics of its petals: “I was forced again and again to put my finger to it to feel whether my eyes were deceived or not.” There are many more statements to indicate the wonderment and admiration painters could elicit when mastering material properties. From a critic in the 18th century we learn for instance how the 17th century painter Jan de Heem “... was praised especially for his desire to imitate gold and silver, [...] so natural that it seemed to be real gold and silver.” Indeed, De Heem’s fame and fortune were precisely based on such skills: refined visual evocations Jeroen Stumpel1,* and Maarten Wijntjes2,*
{"title":"Editorial: The Skin of Things","authors":"J. Stumpel, M. Wijntjes","doi":"10.1163/22134913-20190834","DOIUrl":"https://doi.org/10.1163/22134913-20190834","url":null,"abstract":"Material perception — the visual perception of stuff — is an emerging field in vision science, as Filipp Schmidt states in this special issue on The Skin of Things. Remarkably, this can also be said for research in art history. In art studies there has been plenty of attention for the perception of space, depth cues, and various perspective systems to create 3D-worlds. One might almost call it an obsession – from White (1957) to Willats (1997), from Panofsky (1927) to Kubovy (1968). All the while, preciously little has been done on the recognition and rendering of stuff. It is not so easy to explain this situation − particularly when we look at the history of art. During approximately the last 500 hundred years of Western painting for instance, the rendering of material properties was of paramount importance for artist and audience alike. One can think of the reaction the Englishman John Pepys jotted down in his diary in 1669, upon viewing a flower still life by Simon Verelst. Here poppies and a tulip were delicately painted, each flower with the subtle surface characteristics of its petals: “I was forced again and again to put my finger to it to feel whether my eyes were deceived or not.” There are many more statements to indicate the wonderment and admiration painters could elicit when mastering material properties. From a critic in the 18th century we learn for instance how the 17th century painter Jan de Heem “... was praised especially for his desire to imitate gold and silver, [...] so natural that it seemed to be real gold and silver.” Indeed, De Heem’s fame and fortune were precisely based on such skills: refined visual evocations Jeroen Stumpel1,* and Maarten Wijntjes2,*","PeriodicalId":42895,"journal":{"name":"CERAMICS-ART AND PERCEPTION","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-10-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90717895","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-10-28DOI: 10.1163/22134913-bja10002
J. Ritchie, B. Buren
We draw attention to a frequent motif in the work of the Belgian surrealist René Magritte (1898–1967). In the motif, a scene is depicted that contains a silhouette, which itself contains another depicted scene. The silhouette is bistable, appearing either as a figural region whose positive space is covered, or filled, with the interior scene texture, or as a ground region providing a window onto a more distant scene. We call this the ‘reversible figure–ground motif’. Because the stimulus does not change when our percept changes, the motif’s appearance at any particular moment cannot be explained by its local or global image statistics. Instead principles of perceptual organization, and in particular image segmentation and figure–ground assignment, appear crucial for determining whether the interior of the silhouette is processed as a material vs. a scene — which in turn reflects the fundamental role of visual segmentation in material and scene perception more generally.
{"title":"When Scenes Look Like Materials: René Magritte’s Reversible Figure–Ground Motif","authors":"J. Ritchie, B. Buren","doi":"10.1163/22134913-bja10002","DOIUrl":"https://doi.org/10.1163/22134913-bja10002","url":null,"abstract":"We draw attention to a frequent motif in the work of the Belgian surrealist René Magritte (1898–1967). In the motif, a scene is depicted that contains a silhouette, which itself contains another depicted scene. The silhouette is bistable, appearing either as a figural region whose positive space is covered, or filled, with the interior scene texture, or as a ground region providing a window onto a more distant scene. We call this the ‘reversible figure–ground motif’. Because the stimulus does not change when our percept changes, the motif’s appearance at any particular moment cannot be explained by its local or global image statistics. Instead principles of perceptual organization, and in particular image segmentation and figure–ground assignment, appear crucial for determining whether the interior of the silhouette is processed as a material vs. a scene — which in turn reflects the fundamental role of visual segmentation in material and scene perception more generally.","PeriodicalId":42895,"journal":{"name":"CERAMICS-ART AND PERCEPTION","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-10-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85647085","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-15DOI: 10.1163/22134913-bja10019
F. D. Cicco, Lisa Wiersma, M. Wijntjes, S. Pont
Painters mastered replicating the regularities of the visual patterns that we use to infer different materials and their properties, via meticulous observation of the way light reveals the world’s textures. The convincing depiction of bunches of grapes is particularly interesting. A convincing portrayal of grapes requires a balanced combination of different material properties, such as glossiness, translucency and bloom, as we learn from the 17th-century pictorial recipe by Willem Beurs. These material properties, together with three-dimensionality and convincingness, were rated in experiment 1 on 17th-century paintings, and in experiment 2 on optical mixtures of layers derived from a reconstruction of one of the 17th-century paintings, made following Beurs’s recipe. In experiment 3 only convincingness was rated, using again the 17th-century paintings. With a multiple linear regression, we found glossiness, translucency and bloom not to be good predictors of convincingness of the 17th-century paintings, but they were for the reconstruction. Overall, convincingness was judged consistently, showing that people agreed on its meaning. However, the agreement was higher when the material properties indicated by Beurs were also rated (experiment 1) than if not (experiment 3), suggesting that these properties are associated with what makes grapes look convincing. The 17th-century workshop practices showed more variability than standardization of grapes, as different combinations of the material properties could lead to a highly convincing representation. Beurs’s recipe provides a list of all the possible optical interactions of grapes, and the economic yet effective image cues to render them.
{"title":"Material Properties and Image Cues for Convincing Grapes: The Know-How of the 17th-Century Pictorial Recipe by Willem Beurs","authors":"F. D. Cicco, Lisa Wiersma, M. Wijntjes, S. Pont","doi":"10.1163/22134913-bja10019","DOIUrl":"https://doi.org/10.1163/22134913-bja10019","url":null,"abstract":"Painters mastered replicating the regularities of the visual patterns that we use to infer different materials and their properties, via meticulous observation of the way light reveals the world’s textures. The convincing depiction of bunches of grapes is particularly interesting. A convincing portrayal of grapes requires a balanced combination of different material properties, such as glossiness, translucency and bloom, as we learn from the 17th-century pictorial recipe by Willem Beurs. These material properties, together with three-dimensionality and convincingness, were rated in experiment 1 on 17th-century paintings, and in experiment 2 on optical mixtures of layers derived from a reconstruction of one of the 17th-century paintings, made following Beurs’s recipe. In experiment 3 only convincingness was rated, using again the 17th-century paintings. With a multiple linear regression, we found glossiness, translucency and bloom not to be good predictors of convincingness of the 17th-century paintings, but they were for the reconstruction. Overall, convincingness was judged consistently, showing that people agreed on its meaning. However, the agreement was higher when the material properties indicated by Beurs were also rated (experiment 1) than if not (experiment 3), suggesting that these properties are associated with what makes grapes look convincing. The 17th-century workshop practices showed more variability than standardization of grapes, as different combinations of the material properties could lead to a highly convincing representation. Beurs’s recipe provides a list of all the possible optical interactions of grapes, and the economic yet effective image cues to render them.","PeriodicalId":42895,"journal":{"name":"CERAMICS-ART AND PERCEPTION","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81191023","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-08DOI: 10.1163/22134913-bja10008
J. Koenderink, B. Pinna, A. V. Doorn
We present a speculative account of lived-time at the level of sentience as distinct from sapience. It implies refraining from reference to clock-time. The account is necessarily in terms of meaning. Thus, familiar concepts such as the specious moment, retention and protention mechanisms are re-evaluated. Lived-time does not have a ‘time-line topology’. It has a volatile, irregular texture rather than a sequential linear order. Indeed, lived-time is necessarily an articulate moment, because awareness is not extended, but here-and-now. Thus, Gestalts in static images often have temporal qualities. Yet they can hardly reflect clock-time, as they are ‘frozen happenings’. This applies to many works of art. We especially focus on painting, sculpture and cinema. Narrative structures in the arts have a close similarity to lived-time. Thus, the analyses of the arts and of visual awareness, including daydreams and dreams, mutually illuminate each other. Our account rides the edge that separates sentience from sapience.
{"title":"Capricious Texture of Time in Awareness and Art","authors":"J. Koenderink, B. Pinna, A. V. Doorn","doi":"10.1163/22134913-bja10008","DOIUrl":"https://doi.org/10.1163/22134913-bja10008","url":null,"abstract":"We present a speculative account of lived-time at the level of sentience as distinct from sapience. It implies refraining from reference to clock-time. The account is necessarily in terms of meaning. Thus, familiar concepts such as the specious moment, retention and protention mechanisms are re-evaluated. Lived-time does not have a ‘time-line topology’. It has a volatile, irregular texture rather than a sequential linear order. Indeed, lived-time is necessarily an articulate moment, because awareness is not extended, but here-and-now. Thus, Gestalts in static images often have temporal qualities. Yet they can hardly reflect clock-time, as they are ‘frozen happenings’. This applies to many works of art. We especially focus on painting, sculpture and cinema. Narrative structures in the arts have a close similarity to lived-time. Thus, the analyses of the arts and of visual awareness, including daydreams and dreams, mutually illuminate each other. Our account rides the edge that separates sentience from sapience.","PeriodicalId":42895,"journal":{"name":"CERAMICS-ART AND PERCEPTION","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-06-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72602865","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-08DOI: 10.1163/22134913-bja10003
N. Bruno
How do artists position the key element of their composition? Is this choice random, or does it follow rules? I propose that a fruitful domain for studying key element framing is found in suitable serial works having a strong thematic homogeneity. What characterizes such series is that they might be regarded as variations on a theme by the same artist, allowing meaningful assessments of random variations while keeping other factors approximately constant. In this work, I report two studies on series originally inspired by 19th century Japanese prints (Hokusaiʼs Thirty-six views of Mount Fuji) and later revisited, in similar form, both in later Japanese works and at the beginnings of the 20th and then 21st centuries in Europe. I call this database of images Thirty-six views of X. Results do not support framing according to a centring bias or to ‘power’ points or lines defined by known principles of composition, suggesting that key element framing shows an overall bias for moderate asymmetry, that this bias is modulated by individual and cultural differences, and that there may be an additional effect of print aspect ratio.
{"title":"Thirty-Six Views of X: Variations on a Theme Reveal Individual artistsʼ Approaches to Composition","authors":"N. Bruno","doi":"10.1163/22134913-bja10003","DOIUrl":"https://doi.org/10.1163/22134913-bja10003","url":null,"abstract":"How do artists position the key element of their composition? Is this choice random, or does it follow rules? I propose that a fruitful domain for studying key element framing is found in suitable serial works having a strong thematic homogeneity. What characterizes such series is that they might be regarded as variations on a theme by the same artist, allowing meaningful assessments of random variations while keeping other factors approximately constant. In this work, I report two studies on series originally inspired by 19th century Japanese prints (Hokusaiʼs Thirty-six views of Mount Fuji) and later revisited, in similar form, both in later Japanese works and at the beginnings of the 20th and then 21st centuries in Europe. I call this database of images Thirty-six views of X. Results do not support framing according to a centring bias or to ‘power’ points or lines defined by known principles of composition, suggesting that key element framing shows an overall bias for moderate asymmetry, that this bias is modulated by individual and cultural differences, and that there may be an additional effect of print aspect ratio.","PeriodicalId":42895,"journal":{"name":"CERAMICS-ART AND PERCEPTION","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-06-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87820158","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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