Pub Date : 2020-06-08DOI: 10.1163/22134913-bja10001
S. D. Winter, Nathalie Vissers, Christophe Bossens, J. Wagemans
In his search to create ‘instantaneously capturable’ paintings, Frank Stella started to use Day-Glo alkyd paints as a vehicle to communicate his simple, striped designs. Up till now, art criticism has neglected the visual impact of these fluorescent colours on this concept of ‘instantaneous art’. By presenting participants with Stella’s designs (fluorescent and conventional variants) for short presentation times (8 to 12 ms), we aimed to find out whether fluorescent colour combinations are seen faster (i.e., yield better performance in identifying the specific design) than their conventional counterparts. In general, participants were very good in identifying the correct design among distractors, which means that the pattern and colour combinations based on Stella’s work do seem to be ‘instantaneously capturable’. However, Stella’s formula for ‘instantaneous’ paintings is not identical for the different combinations. When exploring fluorescence in combination with other aspects of the design (colour and pattern), we found two effects that seemed to predict performance. First, performance seemed to depend on specific design patterns. Second, fluorescence seemed to interact with specific colour combinations in predicting performance. The red/yellow designs yielded better performance for the fluorescent variants, while the opposite was found for the green/orange designs. Contrast differences in luminance between the two colours of each colour combination might explain part of the results. On the other hand, the effect of fluorescent colours might have been watered down by the confusion between the hand-printed fluorescent colours and the computer display used for the identification task, which only showed conventional colours.
{"title":"Instantaneous Art? Investigating Frank Stella’s Moroccan Paintings with a Short-Exposure Experiment","authors":"S. D. Winter, Nathalie Vissers, Christophe Bossens, J. Wagemans","doi":"10.1163/22134913-bja10001","DOIUrl":"https://doi.org/10.1163/22134913-bja10001","url":null,"abstract":"In his search to create ‘instantaneously capturable’ paintings, Frank Stella started to use Day-Glo alkyd paints as a vehicle to communicate his simple, striped designs. Up till now, art criticism has neglected the visual impact of these fluorescent colours on this concept of ‘instantaneous art’. By presenting participants with Stella’s designs (fluorescent and conventional variants) for short presentation times (8 to 12 ms), we aimed to find out whether fluorescent colour combinations are seen faster (i.e., yield better performance in identifying the specific design) than their conventional counterparts. In general, participants were very good in identifying the correct design among distractors, which means that the pattern and colour combinations based on Stella’s work do seem to be ‘instantaneously capturable’. However, Stella’s formula for ‘instantaneous’ paintings is not identical for the different combinations. When exploring fluorescence in combination with other aspects of the design (colour and pattern), we found two effects that seemed to predict performance. First, performance seemed to depend on specific design patterns. Second, fluorescence seemed to interact with specific colour combinations in predicting performance. The red/yellow designs yielded better performance for the fluorescent variants, while the opposite was found for the green/orange designs. Contrast differences in luminance between the two colours of each colour combination might explain part of the results. On the other hand, the effect of fluorescent colours might have been watered down by the confusion between the hand-printed fluorescent colours and the computer display used for the identification task, which only showed conventional colours.","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":"87853084","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-bja10004
M. Iosifyan
Crossmodal associations are systematic links between a stimulus from one modality (e.g., color) and a stimulus from another modality (e.g., sound). The present study investigated crossmodal associations between cinema (a complex visual and auditory stimulus) and texture touch. Participants watched fragments of movies with comic and tragic elements. They also touched different textures (e.g., silk, fur, marble) and chose the textures that were most/least consistent with the films. We found systematic links between the films and the textures associated with them. Films with elements of tragedy were associated with granite, marble and glass, while films with elements of comedy were associated with glass pebbles, plasticine and a slime toy. Similar emotional and semantic evaluations of textures and films can partly explain these crossmodal associations. Significant correlations were found between the direct emotional evaluation of films and indirect evaluation through the cinema-haptic perception index for the following scales: dirty, disgusting, pleasant and happy.
{"title":"Crossmodal Associations between Cinema with Elements of Comic and Tragic and Texture Touch","authors":"M. Iosifyan","doi":"10.1163/22134913-bja10004","DOIUrl":"https://doi.org/10.1163/22134913-bja10004","url":null,"abstract":"Crossmodal associations are systematic links between a stimulus from one modality (e.g., color) and a stimulus from another modality (e.g., sound). The present study investigated crossmodal associations between cinema (a complex visual and auditory stimulus) and texture touch. Participants watched fragments of movies with comic and tragic elements. They also touched different textures (e.g., silk, fur, marble) and chose the textures that were most/least consistent with the films. We found systematic links between the films and the textures associated with them. Films with elements of tragedy were associated with granite, marble and glass, while films with elements of comedy were associated with glass pebbles, plasticine and a slime toy. Similar emotional and semantic evaluations of textures and films can partly explain these crossmodal associations. Significant correlations were found between the direct emotional evaluation of films and indirect evaluation through the cinema-haptic perception index for the following scales: dirty, disgusting, pleasant and happy.","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":"80928374","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 : 2020-06-04DOI: 10.6084/M9.FIGSHARE.12295721.V1
C. Pottasch
The seventeenth-century artist Frans van Mieris was masterful in the realistic rendering of different materials, like satin, velvet, fur and metal. His work could well have been a source for fabrics and other materials for the slightly younger Willem Beurs’s 1692 treatise on painting. This paper will show how acute Van Mieris observations were in depicting these materials, and the role that reflections play in our perception of their realism.
17世纪的艺术家弗朗斯·范·米耶里斯(Frans van Mieris)擅长用绸缎、天鹅绒、毛皮和金属等不同材料进行逼真的渲染。他的作品很可能是略年轻一点的威廉·伯尔斯(Willem Beurs) 1692年绘画专著的面料和其他材料的来源。本文将展示范密里斯的观察在描绘这些材料时是多么敏锐，以及反射在我们对它们的现实主义的感知中所起的作用。
{"title":"Frans van Mieris’s Painting Technique as One of the Possible Sources for Willem Beurs’s Treatise on Painting","authors":"C. Pottasch","doi":"10.6084/M9.FIGSHARE.12295721.V1","DOIUrl":"https://doi.org/10.6084/M9.FIGSHARE.12295721.V1","url":null,"abstract":"The seventeenth-century artist Frans van Mieris was masterful in the realistic rendering of different materials, like satin, velvet, fur and metal. His work could well have been a source for fabrics and other materials for the slightly younger Willem Beurs’s 1692 treatise on painting. This paper will show how acute Van Mieris observations were in depicting these materials, and the role that reflections play in our perception of their realism.","PeriodicalId":42895,"journal":{"name":"CERAMICS-ART AND PERCEPTION","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-06-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80778228","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 : 2020-04-22DOI: 10.1163/22134913-bja10005
Lisa Wiersma
Seventeenth-century painters were masters at painting objects and beings that seem tangible. Most elaborate was painting translucent materials like skins and pulp: human flesh and grapes, for instance, require various surface effects and suggest the presence of mass below the upper layers. Thus, the viewer is more or less convinced that a volume or object is present in an illusionary space. In Dutch, the word ‘stofuitdrukking’ is used: expression or indication of material, perhaps better understood as rendering of material. In English, ‘material depiction’ probably captures this painterly means best: it includes rendering of surface effects, while revealing the underlying substance, and it implies that weight and mass are suggested. Simple strokes of paint add up to materials and things that are convincingly percieved. At first glance, material depiction hardly seems a topic in early-modern art theory, yet 17th-century painters are virtually unequalled as regards this elaborate skill. Therefore, 17th-century written sources were studied to define how these might discuss material depiction, if not distinctly. This study concerns one of many questions regarding the incredible convincingness of 17th-century material depiction: besides wondering why the illusions work (Di Cicco et al., this issue) and how these were achieved (Wiersma, in press), the question should be asked why this convincingness was sought after. Was it mere display of ability and skill? And how was material depiction perceived, valued and enjoyed? First, contemporary terminology is determined: the seemingly generic term ‘colouring’ signified the application of convincing material depiction especially — which is not as self-evident as it sounds. Second, and extensively, the reader will find that convincing or appealing material depiction was considered a reference to religion and natural philosophy.
17世纪的画家是描绘有形物体和生命的大师。最复杂的是绘制半透明材料，如皮肤和果肉:例如，人肉和葡萄，需要各种表面效果，并暗示在上层之下存在质量。因此，观看者或多或少地相信一个体量或物体存在于一个虚幻的空间中。在荷兰语中，使用“stofuitdrukking”这个词:对材料的表达或指示，也许更好的理解是对材料的渲染。在英语中，“材料描绘”可能是最好地捕捉了这种绘画的意思:它包括表面效果的渲染，同时揭示了潜在的物质，它暗示了重量和质量。简单的笔触加起来的材料和东西是令人信服的感知。乍一看，材料描绘似乎不是早期现代艺术理论的主题，但17世纪的画家在这种精心制作的技巧方面几乎是无与伦比的。因此，研究人员研究了17世纪的书面资料，以确定这些资料如何讨论材料描述，如果不是很清楚的话。这项研究涉及到许多关于17世纪材料描绘令人难以置信的说服力的问题之一:除了想知道为什么幻觉会起作用(Di Cicco等人，本期)以及这些幻觉是如何实现的(Wiersma, in press)，问题应该是为什么这种说服力被追求。这仅仅是能力和技巧的展示吗?物质描绘是如何被感知、重视和欣赏的?首先，当代术语是确定的:“着色”这个看似通用的术语特别意味着令人信服的材料描绘的应用——这并不像听起来那么不言自明。其次，读者会广泛地发现，令人信服或吸引人的材料描述被认为是对宗教和自然哲学的参考。
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Pub Date : 2020-03-01DOI: 10.1163/22134913-20191128
Hanna Brinkmann, Louis Williams, E. McSorley, R. Rosenberg
Throughout the 20th century, there have been many different forms of abstract painting. While works by some artists, e.g., Piet Mondrian, are usually described as static, others are described as dynamic, such as Jackson Pollock’s ‘action paintings’. Art historians have assumed that beholders not only conceptualise such differences in depicted dynamics but also mirror these in their viewing behaviour. In an interdisciplinary eye-tracking study, we tested this concept through investigating both the localisation of fixations (polyfocal viewing) and the average duration of fixations as well as saccade velocity, duration and path curvature. We showed 30 different abstract paintings to 40 participants — 20 laypeople and 20 experts (art students) — and used self-reporting to investigate the perceived dynamism of each painting and its relationship with (a) the average number and duration of fixations, (b) the average number, duration and velocity of saccades as well as the amplitude and curvature area of saccade paths, and (c) pleasantness and familiarity ratings. We found that the average number of fixations and saccades, saccade velocity, and pleasantness ratings increase with an increase in perceived dynamism ratings. Meanwhile the saccade duration decreased with an increase in perceived dynamism. Additionally, the analysis showed that experts gave higher dynamic ratings compared to laypeople and were more familiar with the artworks. These results indicate that there is a correlation between perceived dynamism in abstract painting and viewing behaviour — something that has long been assumed by art historians but had never been empirically supported.
{"title":"Does ‘Action Viewing’ Really Exist? Perceived Dynamism and Viewing Behaviour","authors":"Hanna Brinkmann, Louis Williams, E. McSorley, R. Rosenberg","doi":"10.1163/22134913-20191128","DOIUrl":"https://doi.org/10.1163/22134913-20191128","url":null,"abstract":"Throughout the 20th century, there have been many different forms of abstract painting. While works by some artists, e.g., Piet Mondrian, are usually described as static, others are described as dynamic, such as Jackson Pollock’s ‘action paintings’. Art historians have assumed that beholders not only conceptualise such differences in depicted dynamics but also mirror these in their viewing behaviour. In an interdisciplinary eye-tracking study, we tested this concept through investigating both the localisation of fixations (polyfocal viewing) and the average duration of fixations as well as saccade velocity, duration and path curvature. We showed 30 different abstract paintings to 40 participants — 20 laypeople and 20 experts (art students) — and used self-reporting to investigate the perceived dynamism of each painting and its relationship with (a) the average number and duration of fixations, (b) the average number, duration and velocity of saccades as well as the amplitude and curvature area of saccade paths, and (c) pleasantness and familiarity ratings. We found that the average number of fixations and saccades, saccade velocity, and pleasantness ratings increase with an increase in perceived dynamism ratings. Meanwhile the saccade duration decreased with an increase in perceived dynamism. Additionally, the analysis showed that experts gave higher dynamic ratings compared to laypeople and were more familiar with the artworks. These results indicate that there is a correlation between perceived dynamism in abstract painting and viewing behaviour — something that has long been assumed by art historians but had never been empirically supported.","PeriodicalId":42895,"journal":{"name":"CERAMICS-ART AND PERCEPTION","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82155441","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 : 2020-01-21DOI: 10.1163/22134913-20191131
C. Erkelens
Perspective plays an important role in the creation and appreciation of depth on paper and canvas. Paintings of extant scenes are interesting objects for studying perspective, because such paintings provide insight into how painters apply different aspects of perspective in creating highly admired paintings. In this regard the paintings of the Piazza San Marco in Venice by Canaletto in the eighteenth century are of particular interest because of the Piazza’s extraordinary geometry, and the fact that Canaletto produced a number of paintings from similar but not identical viewing positions throughout his career. Canaletto is generally regarded as a great master of linear perspective. Analysis of nine paintings shows that Canaletto almost perfectly constructed perspective lines and vanishing points in his paintings. Accurate reconstruction is virtually impossible from observation alone because of the irregular quadrilateral shape of the Piazza. Use of constructive tools is discussed. The geometry of Piazza San Marco is misjudged in three paintings, questioning their authenticity. Sizes of buildings and human figures deviate from the rules of linear perspective in many of the analysed paintings. Shadows are stereotypical in all and even impossible in two of the analysed paintings. The precise perspective lines and vanishing points in combination with the variety of sizes for buildings and human figures may provide insight in the employed production method and the perceptual experience of a given scene.
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Pub Date : 2019-11-29DOI: 10.1163/22134913-20190704
There are two types of perspective relevant to human vision, photographic and visual perspective. Photographic perspective results from projection of the three-dimensional world on two-dimensional surfaces such as canvases and retinae. Photographic perspective is widely applied in drawings and paintings to create an illusion of depth. Visual perspective is a property of the space that we, human beings, perceive through vision. Photographic perspective is two-dimensional, visual perspec- tive three-dimensional. Paintings of perspective scenes are interesting objects of study because both types of perspectives play a role in the creation of depth. A previous study showed that Canaletto and other vedutisti applied perspective related to visual space.Paintings of Piazza San Marco in Venice are analysed in the current study. These paintings are of particular interest because of the Piazza’s extraordinary geometry and the fact that Canaletto and his followers produced dozens of paintings from almost identical viewing positions. Buildings and patterns are directed to three horizontally separated vanishing points. Perspective is extremely veridical in a number of paintings. It is hard to imagine how such accuracy could have been obtained without the help of a camera. In other paintings the quality of perspective is poorer and perspective is completely wrong in number of paintings, suggesting that those paintings are not of Canaletto. People have been painted twice to four times too large on all the paintings. The large sizes suggest that people were added later, aiming to portray San Marco as a more intimate plaza than it is.
{"title":"Abstracts from the 7th Visual Science of Art Conference (VSAC) Leuven, Belgium, August 21st–24th, 2019","authors":"","doi":"10.1163/22134913-20190704","DOIUrl":"https://doi.org/10.1163/22134913-20190704","url":null,"abstract":"There are two types of perspective relevant to human vision, photographic and visual perspective. Photographic perspective results from projection of the three-dimensional world on two-dimensional surfaces such as canvases and retinae. Photographic perspective is widely applied in drawings and paintings to create an illusion of depth. Visual perspective is a property of the space that we, human beings, perceive through vision. Photographic perspective is two-dimensional, visual perspec- tive three-dimensional. Paintings of perspective scenes are interesting objects of study because both types of perspectives play a role in the creation of depth. A previous study showed that Canaletto and other vedutisti applied perspective related to visual space.Paintings of Piazza San Marco in Venice are analysed in the current study. These paintings are of particular interest because of the Piazza’s extraordinary geometry and the fact that Canaletto and his followers produced dozens of paintings from almost identical viewing positions. Buildings and patterns are directed to three horizontally separated vanishing points. Perspective is extremely veridical in a number of paintings. It is hard to imagine how such accuracy could have been obtained without the help of a camera. In other paintings the quality of perspective is poorer and perspective is completely wrong in number of paintings, suggesting that those paintings are not of Canaletto. People have been painted twice to four times too large on all the paintings. The large sizes suggest that people were added later, aiming to portray San Marco as a more intimate plaza than it is.","PeriodicalId":42895,"journal":{"name":"CERAMICS-ART AND PERCEPTION","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82820363","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 : 2019-10-28DOI: 10.1163/22134913-20191126
David Romand
In the present article, I discuss the concept of ‘the illusion of materials’ (die Stoffillusion) as it was elaborated in the late 19th and early 20th centuries by the German aesthetician and art historian Konrad Lange (1855–1921). Here I intend to revisit a remarkable theory of the psychological mechanisms that underlie the aesthetic experience of mimesis in painting and, more generally speaking, in visual arts. First, I deal with the historical background of Lange’s contribution by saying a word about the German-speaking psychoaesthetic paradigm as it developed between the mid-19th century and WWI. Second, I discuss the basic tenets of Lange’s ‘illusionistic aesthetics’ (Illusionsästhetik), the view according to which the experience of the beautiful lies in a process of ‘conscious self-delusion’ (bewusste Selbsttäuschung) by which means the contemplating subject mentally oscillates between ‘semblance’ and ‘reality’. Third, I analyze Lange’s theoretical way of conceiving the illusion of materials by showing that he identified it as one of the seven chief categories of aesthetic illusions and by insisting on his distinction between the ‘subjective’ non-aesthetic illusion and the ‘objective’ aesthetic illusion of materials. Fourth, I show how Lange conceived the place of the illusion of materials in aesthetic experience in general and in the contemplation of painting and sculpture in particular. In a fifth, concluding part, I deal with the significance of Lange’s ideas on the illusion of materials today by highlighting their close relation to Daniel Arasse’s conception of painting contemplation as a dialectics of ‘the pictorial’ and ‘the iconic’, while also suggesting that they may be very fruitful within the context of current experimental psycho- and neuroaesthetic research.
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Pub Date : 2019-10-28DOI: 10.1163/22134913-20191116
Filipp Schmidt
Material perception — the visual perception of stuff — is an emerging field in vision research. We recognize materials from shape, color and texture features. This paper is a selective review and discussion of how artists have been using shape features to evoke vivid impressions of specific materials and material properties. A number of examples are presented in which visual artists render materials or their transformations, such as soft human skin, runny or viscous fluids, or wrinkled cloth. They achieve this by expressing the telltale shape features of these materials and transformations, often by carving them from a single block of marble or wood. Vision research has just begun to investigate these very shape features, making material perception a prime example of how art can inform science.
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Pub Date : 2019-09-11DOI: 10.1163/22134913-20191142
R. Pepperell
This illustrated essay highlights some conceptual problems that arise when we consider the nature of visual perception and its relationship to art. Science proceeds on the assumption that natural phenomena operate rationally and can be explained rationally. Yet the study of art shows that many ordinary acts of perception, such as looking at a picture, can be paradoxical, logically contradictory and self-referential. I conclude that we must confront these problems if we are to reconcile the scientific approach to explaining visual perception with artistic and philosophical discoveries.
{"title":"Problems and Paradoxes of Painting and Perception","authors":"R. Pepperell","doi":"10.1163/22134913-20191142","DOIUrl":"https://doi.org/10.1163/22134913-20191142","url":null,"abstract":"This illustrated essay highlights some conceptual problems that arise when we consider the nature of visual perception and its relationship to art. Science proceeds on the assumption that natural phenomena operate rationally and can be explained rationally. Yet the study of art shows that many ordinary acts of perception, such as looking at a picture, can be paradoxical, logically contradictory and self-referential. I conclude that we must confront these problems if we are to reconcile the scientific approach to explaining visual perception with artistic and philosophical discoveries.","PeriodicalId":42895,"journal":{"name":"CERAMICS-ART AND PERCEPTION","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87509083","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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