Journal articles: 'Art appreciation Art Visual perception'

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Bai, Hui. "The Exploration of Arnheim‘s Theory of Visual Perception in the Field of Art Appreciation and Review in Junior High School." Learning & Education 9, no. 2 (November 10, 2020): 139. http://dx.doi.org/10.18282/l-e.v9i2.1428.

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Rudolf Arnheim (German Rudolf Arnheim, 1904-2007) is a famous Gestalt psychologist and aesthetician in the history of western aesthetics. His research on the theory of visual perception plays an important role in exploring human thinking activities. Arnheim’s theory of visual perception and related research in the field of art education can provide professional and detailed theoretical support for the teaching of art curriculum appreciation and review in middle school. Through the analysis and exploration of Arnheim’s visual perception theory, this paper attempts to apply his visual perception theory to the learning field of junior high school art curriculum appreciation review. Teachers can make use of Arnheim’s relevant research results to make students understand and master art language more easily, and make full use of art language knowledge for art appreciation.

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Arai, Shihoko, and Hideaki Kawabata. "Appreciation Contexts Modulate Aesthetic Evaluation and Perceived Duration of Pictures." Art and Perception 4, no. 3 (September 16, 2016): 225–39. http://dx.doi.org/10.1163/22134913-00002052.

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When looking at visual stimuli, context often easily affects elements of perception and cognition such as aesthetic evaluation, memory, and time perception. However, the relationships between aesthetic evaluation and time perception as influenced by context are not fully understood. This study’s aim was to examine whether context can influence not only aesthetic evaluation but also time perception. To achieve this, a temporal reproduction task was used. Participants viewed stimuli in either an art context or a realistic context. Identical affective pictures were presented in one of three durations (2500 ms, 4500 ms, or 6500 ms) and the participants reproduced their perceived viewing time for each picture. The pictures were rated as more pleasant when viewed in the art context compared to the realistic context. Additionally, the perceived duration of identical visual stimuli differed according to the particular context. Thus, contextual differences were found to be attributed to different operations of a switch within the internal clock. In sum, context can influence both aesthetic evaluation and time perception.

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Popadić, Marko, and Siniša Ristić. "Influence of verbal, auditory and visual incentives on art perception and reception of primary school students." Биомедицинска истраживања 11, no. 2 (2020): 151–58. http://dx.doi.org/10.5937/bii2002151p.

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Introduction. Art reception and experiencing is a complex process, containing creative components. The experience of a work of art involves reproduction, in the viewer's consciousness, of the experiences and excitement that the artist himself or herself have undergone in the process of creating the same works of art. When viewing visual images, our perception is directed towards the identification of objects, and when viewing visual images as works of art, we also tend to experience them - we subjectively react to elements, such as stylistic and structural characteristics. The aim of the research is to examine the effectiveness of the experimental program named the Impact of Verbal, Auditory and Visual Incentives, designed to foster students' visual perception and visual reception during art education. Methods. The experimental method with parallel groups was used. The research included the sample consisting of 98 students, out of which 45 belonged to experimental group while 53 were control students from Trebinje region. Test LV1, examining visual creativity, as well as visual perception and visual reception (art appreciation), was used. Results. The results indicated that the experimental program influenced the development of the visual perceptive (F = 3.76; p = 0.05) and visual receptive (F = 8.01; p = 0.00) abilities among students during art education because the experimental group students achieved significantly better results than the control group students. The experimental program was aligned with the curriculum and designed to influence the development of students' visual-perceptual and visual-receptive abilities. Conclusion. The obtained results indicate that it is possible to influence the development of students' visual-perceptual and visual-receptive abilities by using a specially designed program, aimed at stimulating verbal, auditory and visual aspects of visual expression.

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Lin, Ming-Hwai, Shwu-Lan Moh, Yu-Cheng Kuo, Pin-Yuan Wu, Chiung-Ling Lin, Mei-Hui Tsai, Tzeng-Ji Chen, and Shinn-Jang Hwang. "Art therapy for terminal cancer patients in a hospice palliative care unit in Taiwan." Palliative and Supportive Care 10, no. 1 (February 13, 2012): 51–57. http://dx.doi.org/10.1017/s1478951511000587.

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AbstractObjective:Even though terminal cancer patients receive help from a hospice palliative care team, they have to suffer the pressure of death with deteriorating conditions. This study aims to evaluate the effect of art therapy for these terminal cancer patients.Method:The patients involved were terminal cancer patients who were under the care of team members, which included physicians, nurses, social workers, clergy, art therapists, and volunteers in a hospice palliative care unit in Taiwan. The art therapy in our study took the form of visual fine art appreciation and hands-on painting. The effects of the art therapy were evaluated according to patients' feelings, cognitions, and behaviors.Results:There were 177 patients (105 males and 72 females; mean age: 65.4 ±15.8 years) in the study. Each patient received a mean of 2.9 ± 2.0 sessions of the art therapy and produced a mean of 1.8 ± 2.6 pieces of art. During the therapy, most patients described their feelings well, and created art works attentively. Patients expressed these feelings through image appreciation and hands-on painting, among which the landscape was the most common scene in their art. After the therapy, the mean score of patients' artistic expressions (one point to each category: perception of beauty, art appreciation, creativity, hands-on artwork, and the engagement of creating artwork regularly) was 4.0 ± 0.7, significantly higher than the score before therapy (2.2 ± 1.4, p < 0.05). During the therapy, 70% of patients felt much or very much relaxed in their emotional state and 53.1% of patients felt much or very much better physically.Significance of results:Terminal cancer patients in a hospice palliative care unit in Taiwan may benefit from art therapy through visual art appreciation and hands-on creative artwork.

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Liu, Jianli, Edwin Lughofer, and Xianyi Zeng. "Toward Model Building for Visual Aesthetic Perception." Computational Intelligence and Neuroscience 2017 (2017): 1–13. http://dx.doi.org/10.1155/2017/1292801.

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Several models of visual aesthetic perception have been proposed in recent years. Such models have drawn on investigations into the neural underpinnings of visual aesthetics, utilizing neurophysiological techniques and brain imaging techniques including functional magnetic resonance imaging, magnetoencephalography, and electroencephalography. The neural mechanisms underlying the aesthetic perception of the visual arts have been explained from the perspectives of neuropsychology, brain and cognitive science, informatics, and statistics. Although corresponding models have been constructed, the majority of these models contain elements that are difficult to be simulated or quantified using simple mathematical functions. In this review, we discuss the hypotheses, conceptions, and structures of six typical models for human aesthetic appreciation in the visual domain: the neuropsychological, information processing, mirror, quartet, and two hierarchical feed-forward layered models. Additionally, the neural foundation of aesthetic perception, appreciation, or judgement for each model is summarized. The development of a unified framework for the neurobiological mechanisms underlying the aesthetic perception of visual art and the validation of this framework via mathematical simulation is an interesting challenge in neuroaesthetics research. This review aims to provide information regarding the most promising proposals for bridging the gap between visual information processing and brain activity involved in aesthetic appreciation.

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Desa, Noor Enfendi, Noor A'yunni Muhamad, Syed Alwi Syed Abu Bakar, and Azian Tahir. "Perception on Si + Sa as a Theme in a Work of Art Entitled “Free Memories”." Idealogy Journal 6, no. 2 (September 1, 2021): 91–97. http://dx.doi.org/10.24191/idealogy.v6i2.302.

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The effects from thinking will result in the production of perception. This perception exists in both positive and negative situations. It focuses on the cognitive that explains how human brain responds to the perceptions received from their respective methods of understanding. The exhibition of “Kami 8: SI + SA" has managed to exhibit creative artwork produced by academic staffs from the Faculty of Art and Design UiTM Perak, with the appreciation of the theme "SI + SA" will change the way of delivery or meaning, according to the circumstances and methods of individual personal perception. The research design is based on J.J. Winklemann in producing art works. Data collection consisting of sampling and equipment based on ideal imagery observation methods. Also, samples and equipment were analyzed based on the production of the proposed artwork based on the studio-based research. The artwork "free memories" is produced based on perception and understanding by the author translating in visual form.

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Humphries, Stacey, Jacqueline Rick, Daniel Weintraub, and Anjan Chatterjee. "Movement in Aesthetic Experiences: What We Can Learn from Parkinson Disease." Journal of Cognitive Neuroscience 33, no. 7 (June 1, 2021): 1329–42. http://dx.doi.org/10.1162/jocn_a_01718.

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Abstract Visual art offers cognitive neuroscience an opportunity to study how subjective value is constructed from representations supported by multiple neural systems. A surprising finding in aesthetic judgment research is the functional activation of motor areas in response to static, abstract stimuli, like paintings, which has been hypothesized to reflect embodied simulations of artists' painting movements, or preparatory approach–avoidance responses to liked and disliked artworks. However, whether this motor involvement functionally contributes to aesthetic appreciation has not been addressed. Here, we examined the aesthetic experiences of patients with motor dysfunction. Forty-three people with Parkinson disease and 40 controls made motion and aesthetics judgments of high-motion Jackson Pollock paintings and low-motion Piet Mondrian paintings. People with Parkinson disease demonstrated stable and internally consistent preferences for abstract art, but their perception of movement in the paintings was significantly lower than controls in both conditions. The patients also demonstrated enhanced preferences for high-motion art and an altered relationship between motion and aesthetic appreciation. Our results do not accord well with a straightforward embodied simulation account of aesthetic experiences, because artworks that did not include visual traces of the artist's actions were still experienced as lower in motion by Parkinson patients. We suggest that the motor system may be involved in integrating low-level visual features to form abstract representations of movement rather than simulations of specific bodily actions. Overall, we find support for hypotheses linking motor responses and aesthetic appreciation and show that altered neural functioning changes the way art is perceived and valued.

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Sharrock, A. R. "The art of deceit: Pseudolus and the nature of reading." Classical Quarterly 46, no. 1 (May 1996): 152–74. http://dx.doi.org/10.1093/cq/46.1.152.

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Reading is delusion. In order to read, we have to suspend certain standards of reality and accept others; we have to offer ourselves to deceit, even if it is an act of deception of which we are acutely aware. One way of considering this paradoxical duality in the act of reading (being deceived while being aware of the deception) is more or less consciously to posit multiple levels of reading, whereby the deceived reader is watched by an aware reader, who is in turn watched by a super-reader; and so it continues. The ancient art critics, obsessed as they were with deceptive realism, provide in anecdotal form a good example of such multiplicity of perception when they tell stories of birds trying to peck at painted grapes, horses trying to mate with painted horses, even humans deceived by the lifelikeness of works of art. Such stories act as easy but potent signifiers of ‘realism’ in ancient art criticism, by showing the reactions of a ‘naive reader’ (the animals) whose deception the aware reader can enter into but also see exposed. In verbal or visual art parading itself as realistic, the artistic pretence of a pose of reality is, at some level, intended to be seen as deceptive; when it is non-realistic, or anti-realistic, or even stubbornly abstract (which it rarely is), art still demands that the reader suspend ordinary perception. But deception alone is not enough: ‘deceit’ only becomes artistic when a viewer sees through it, for a work of art which is so lifelike that no-one realizes it is not real has not entered the realm of art. The appreciation of deception happens at the moment when the deception is undone, or by the imaginative creation of a less sophisticated reader who has not seen through the deceit. That is what happens in comedy, more overtly than in other artforms, but in the same way.

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Janik, Liliana, Corinne Roughley, and Katarzyna Szczȩsna. "Skiing on the Rocks: the Experiential Art of Fisher-gatherer-hunters in Prehistoric Northern Russia." Cambridge Archaeological Journal 17, no. 3 (October 2007): 297–310. http://dx.doi.org/10.1017/s0959774307000388.

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The interpretation of images in relation to their particular setting on rock surfaces has been highlighted in recent studies into the location of depictions in the natural landscape and shamanistic beliefs and practices. The significance of the approach in this article, however, lies in studying the morphology of the rock surface as an integral part of the visual imagery of the rock art, notably how the physical dimensions of the rock surface were used in recreating the physical landscape familiar to the prehistoric artists. We use experiential and cognitive approaches to visual perception to combine an appreciation of artistic endeavour of rock art with an enhanced understanding of the human capacity for creating such images. The results of this approach to rock art contribute to a better understanding of the creative and cognitive aspects of prehistoric fisher-gatherer-hunter art. A detailed example is discussed showing how the physical landscape was re-created in the morphology of the rock surface by using the motion of skiing to illustrate one of the visual narratives at the site of Zalavruga in northern Russia.

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Muth, Claudia, Marius Hans Raab, and Claus-Christian Carbon. "Expecting the Unexpected: How Gallery Visitors Experience Semantic Instability in Art." Art and Perception 5, no. 2 (June 5, 2017): 121–42. http://dx.doi.org/10.1163/22134913-00002062.

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The perception of artworks rarely—if ever—results in the instantiation of a determinate meaning. Instead, when entering an art gallery, we often expect Semantic Instability (SeIns): the experience of perceptual and cognitive habits being challenged. By comparing the experience of an artistic movie in an exhibition with the experience in a laboratory via the Continuous Evaluation Procedure, we found that the movie was less semantically unstable and more pleasing to the eyes of gallery visitors than to those of participants in the laboratory. These findings suggest that a gallery context might induce the expectation of perceptual challenge, thus decreasing the intensity of SeIns and at the same time heightening the appreciation of SeIns. Exhibition visitors might even be on the lookout for challenging experiences.

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da Silva, Odette, Nathan Crilly, and Paul Hekkert. "Beauty in Efficiency." Empirical Studies of the Arts 35, no. 1 (July 24, 2016): 93–120. http://dx.doi.org/10.1177/0276237416638488.

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Theory and discourse suggest that the aesthetic appreciation of a wide range of artifacts—including works of art and consumer products—is partially governed by the principle of maximum effect for minimum means. We conducted two studies to find experimental evidence of this principle in the context of product design. In Study 1, we tested the hypothesis that the aesthetic appreciation of a product would be positively affected by the perception of the product as the minimum means achieving the maximum effect. Encouraged by the results of this study, we conducted Study 2 to test again the principle of maximum effect for minimum means using a more controlled experimental design. Our findings provide support for our hypothesis, indicating that the aesthetic appreciation of a product depends, to some extent, on the perception that the product achieves more than other products from its category by making an efficient use of resources.

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Cloonan, Thomas. "Face Value: The Phenomenology of Physiognomy." Journal of Phenomenological Psychology 36, no. 2 (2005): 219–46. http://dx.doi.org/10.1163/156916205774651087.

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AbstractThe concern of this article is to establish the difference between physiognomy and expression as it may be understood phenomenologically. The work of Merleau-Ponty founds the phenomenological appreciation of physiognomy, and Gestalt psychological studies on perceptual organization elaborate the specifics of physiognomic structure despite the naturalist assumptions of that school of psychology. Physiognomy is the organized structural specification of expression in the phenomenon that presents itself. This view is an alternative to conventional topical but nonthematic considerations on physiognomy (e.g., "face value," visual inspection, physiognomy in language perception, and facial expressiveness). Art therapy with its use of various media is a venue in which the physiognomy of clients' art products is a display of integralness or pathology. It is an immediate access to the world of the patient. The work of the Gestalt psychologist Rudolf Arnheim and of the art therapist Mala Betensky are associated with the phenomenology of Merleau-Ponty in order to advance understanding of the significance of physiognomy in experience, in behavior, and in art therapy.

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Misni, Alamah Misni, and Anwar Suran. "AN INTEGRATED PUBLIC ART IN PUTRAJAYA URBAN LANDSCAPE." Built Environment Journal 15, no. 2 (July 30, 2018): 48. http://dx.doi.org/10.24191/bej.v15i2.9708.

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The art found in public space represents a local social and cultural situation, as well as the artistic and aesthetic tendencies. There is a close relationship between the public art and the city landscape. Public art is part of the broader visual environment of buildings, landscapes, and infrastructure. It can promote a sense of place, contribute to legibility or wayfinding, and support efforts to quality urban design. It can be in the form of sculpture, street furniture, mural, and even fountain structure. This research focuses on the user's perception and appreciation of integrated public art in the Putrajaya urban landscape. Data was collected using qualitative and quantitative methods. The case study data collections were conducted through a survey, observation, and distribution of questionnaires. The case study was carried out in the Putrajaya urban landscape. Putrajaya was selected as a case study because it is the new administrative capital of Malaysia that has seen the need to be distinctively outstanding in both its characteristics and development. Putrajaya has revealed the influence of public art in enforcing and strengthening the identity of the city. Subsequently, the recommendation has been made to enhance the planning process and management system by the local authority in the Putrajaya urban landscape. Therefore, this research will help to generate the social awareness and understanding of the effort of integrating public art into the Malaysian urban landscape. Keywords: Putrajaya, planning, public art, sense of place, urban landscape

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Verma, Deepank, Arnab Jana, and Krithi Ramamritham. "Quantifying Urban Surroundings Using Deep Learning Techniques: A New Proposal." Urban Science 2, no. 3 (August 28, 2018): 78. http://dx.doi.org/10.3390/urbansci2030078.

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The assessments on human perception of urban spaces are essential for the management and upkeep of surroundings. A large part of the previous studies is dedicated towards the visual appreciation and judgement of various physical features present in the surroundings. Visual qualities of the environment stimulate feelings of safety, pleasure, and belongingness. Scaling such assessments to cover city boundaries necessitates the assistance of state-of-the-art computer vision techniques. We developed a mobile-based application to collect visual datasets in the form of street-level imagery with the help of volunteers. We further utilised the potential of deep learning-based image analysis techniques in gaining insights into such datasets. In addition, we explained our findings with the help of environment variables which are related to individual satisfaction and wellbeing.

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Liu, Jianli, Edwin Lughofer, Xianyi Zeng, and Zhengxin Li. "The Power of Visual Texture in Aesthetic Perception: An Exploration of the Predictability of Perceived Aesthetic Emotions." Computational Intelligence and Neuroscience 2018 (September 9, 2018): 1–8. http://dx.doi.org/10.1155/2018/1812980.

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How to interpret the relationship between the low-level features, such as some statistical characteristics of color and texture, and the high-level aesthetic properties, such as warm or cold, soft or hard, has been a hot research topic of neuroaesthetics. Contrary to the black-box method widely used in the fields of machine learning and pattern recognition, we build a white-box model with the hierarchical feed-forward structure inspired by neurobiological mechanisms underlying the aesthetic perception of visual art. In the experiment, the aesthetic judgments for 8 pairs of aesthetic antonyms are carried out for a set of 151 visual textures. For each visual texture, 106 low-level features are extracted. Then, ten more useful and effective features are selected through neighborhood component analysis to reduce information redundancy and control the complexity of the model. Finally, model building of the beauty appreciation of visual textures using multiple linear or nonlinear regression methods is detailed. Compared with our previous work, a more robust feature selection algorithm, neighborhood component analysis, is used to reduce information redundancy and control computation complexity of the model. Some nonlinear models are also adopted and achieved higher prediction accuracy when compared with the previous linear models. Additionally, the selection strategy of aesthetic antonyms and the selection standards of the core set of them are also explained. This research also suggests that the aesthetic perception and appreciation of visual textures can be predictable based on the computed low-level features.

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Candidi, Matteo, and Salvatore Maria Aglioti. "Visual and Sensorimotor Contributions to the Esthetic Appraisal of Body Form, Motion, and Emotion." European Psychologist 20, no. 1 (January 1, 2015): 16–26. http://dx.doi.org/10.1027/1016-9040/a000221.

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Recent neuroscience studies indicate that the visual processing of human bodies relies on a cortical network comprising different sensorimotor regions (extrastriate body area [EBA], superior temporal sulcus [STS], parietal cortex [PC], and premotor cortex [PM]). These regions seem to be specifically involved in the processing of morphological (form) and dynamic (movement) cues of the body. Importantly, the integrated activity within the network dedicated to body processing seems to underpin the unified perception of the body and its movements via simulation-like mechanisms (“cold embodiment”). Studies also suggest that regions within the body-related network are involved in the esthetic appreciation of human bodies together with a variety of cortical and subcortical regions associated to the emotional reward coding of stimuli (e.g., the amygdala for fear/disgust and the nucleus accumbens, the insula, and the cingulate cortex for pleasure reward), which may drive a form of “hot embodiment.” Thus, the esthetic evaluation of human bodies may rely upon a large cortico-subcortical network. Here we review evidence concerning the role of specific sensorimotor cortical and subcortical regions in the perception of beauty and attractiveness of the body. We conclude that exploring the way in which visual, sensorimotor, affective, and multisensory information in art and ecological life in general perturb our body representations is crucial for understanding the neural foundations of esthetic body appreciation.

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Telotte, JP. "Letting Go: Representation, Presentation, and Disney’s Art of Animation." Animation 14, no. 2 (July 2019): 132–48. http://dx.doi.org/10.1177/1746847719858159.

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This article considers two linked developments in Disney animation at a major point of change for the studio. One is the effort to craft a new ‘logistics of perception’ or way of seeing and appreciating Disney’s work in this period. Prompting that effort is the other, a shift from the studio’s early emphasis on realistic representation, or an ‘illusion of life’, to what might be termed a presentational approach that repackaged Disney animation and re-framed its experience. These developments, observed in episodes of the Disneyland TV series of the 1950s–1960s dedicated to ‘the art of animation’, anticipate the emergence of new styles in Disney animation and of a new approach to animation that would eventually be reflected in the development of audio-animatronics and theme parks.

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Cattaneo, Zaira, Susanna Schiavi, Juha Silvanto, and Marcos Nadal. "A TMS study on the contribution of visual area V5 to the perception of implied motion in art and its appreciation." Cognitive Neuroscience 8, no. 1 (December 16, 2015): 59–68. http://dx.doi.org/10.1080/17588928.2015.1083968.

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Lyu, Yanru, Chih-Long Lin, Po-Hsien Lin, and Rungtai Lin. "The Cognition of Audience to Artistic Style Transfer." Applied Sciences 11, no. 7 (April 6, 2021): 3290. http://dx.doi.org/10.3390/app11073290.

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Artificial Intelligence (AI) is becoming more popular in various fields, including the area of art creation. Advances in AI technology bring new opportunities and challenges in the creation, experience, and appreciation of art. The neural style transfer (NST) realizes the intelligent conversion of any artistic style using neural networks. However, the artistic style is the product of cognition that involving from visual to feel. The purpose of this paper is to study factors affecting audience cognitive difference and preference on artistic style transfer. Those factors are discussed to investigate the application of the AI generator model in art creation. Therefore, based on the artist’s encoding attributes (color, stroke, texture) and the audience’s decoding cognitive levels (technical, semantic, effectiveness), this study proposed a framework to evaluate artistic style transfer in the perspective of cognition. Thirty-one subjects with a background in art, aesthetics, and design were recruited to participate in the experiment. The experimental process consists of four style groups, including Fauvism, Expressionism, Cubism, and Renaissance. According to the finding in this study, participants can still recognize different artistic styles after transferred by neural networks. Besides, the features of texture and stroke are more impact on the perception of fitness than color. The audience may prefer the samples with high cognition in the semantic and effectiveness levels. The above indicates that through AI automated routine work, the cognition of the audience to artistic style still can be kept and transferred.

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Muth, Claudia, Vera M. Hesslinger, and Claus-Christian Carbon. "The appeal of challenge in the perception of art: How ambiguity, solvability of ambiguity, and the opportunity for insight affect appreciation." Psychology of Aesthetics, Creativity, and the Arts 9, no. 3 (August 2015): 206–16. http://dx.doi.org/10.1037/a0038814.

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Chien, Jui-Pi. "Spectatorship as a play on moral ambiguities: Neuro-evolutionary semiotic approach to lowly arousal emotions." Semiotica 2017, no. 215 (March 1, 2017): 325–39. http://dx.doi.org/10.1515/sem-2016-0071.

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AbstractThis study seeks to outline a neuro-evolutionary semiotic model for our perception and interpretation of moral ambiguities in the wake of neuroaesthetics. This model is actually an integration of the Saussurean network of differences and the recently discovered default mode network: it serves on the one hand to rectify automatic responses generated by the mirror system in real-life situations, and on the other, to expand the applicability of the sign system for our appreciation of eerie or scary details found in the arts. Such a framework functions not only to blur binary oppositions set between high and lowly arousal emotions, but also to enhance our skills and confidence in dealing with uncertainties and oddities found in the arts. As opposed to experimental schemes devised in neuroaesthetics, which quantify our instant ratings of specific audial and visual inputs, the neuro-evolutionary model allows us some freedom and flexibility to re-evaluate our perceptions of motives concealed in characters’ behaviors. This study therefore enlarges on a qualitative approach to conceptualizing spectatorship in the world of art. We as intelligent and self-governing spectators should manage to align with odd characters’ positions so as to regain meaning, understanding, and harmony from our dealings. By way of comparing and contrasting two film characters’ dealings with valuable paintings and endearing families, the author argues for the fruitful functioning of the neuro-evolutionary sign system in revising our biases against seemingly immoral characters. It is observed that the sign system is characterized with the capacity of multiplying meaningful connections between characters’ motives, choices, and actions. It enables us to sort out and to appreciate strings of actions that enlarge on characters’ persistence and consistence of achieving certain goals. All in all, our choice of engaging with the daunting and the disconcerting fosters not only our pleasure and intelligence of viewing, but also the survival of odd characters in our community.

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Karpukhina, T. P. "EKPHRASIS AND ITS FUNCTIONING IN SOMERSET MAUGHAM′S NOVEL “THE MOON AND SIXPENCE”." Bulletin of Kemerovo State University, no. 2 (June 29, 2017): 200–205. http://dx.doi.org/10.21603/2078-8975-2017-2-200-205.

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The article investigates the phenomenon of verbal representation of a work of fine arts in literature known under the term of ekphrasis. The object of investigation is ekphrasis as presented in the novel by S. Maugham “The Moon and Sixpence”. Specific features of ekphrasis, its functions and linguistic means of expression are subjected to analysis. The novel contains five ekphrastic inclusions – descriptions of the pictures painted by the main character: a full-length portrait, a landscape, a wall-painting, a fruit-piece, a family portrait. Being different in genre, these pictures share some common features typical of ekphrasis. The description, given in the form of a dialogue or a monologue, includes the invariable features characteristic of an archetypal scheme of ekphrasis. Linguistic manifestation of these archetypal features is connected with visual perception, with strong emotions, with the notions of beauty, miracle, mystery, singularity, spirituality, looking life-like. Ekphrastic descriptions reflect the impression the pictures have made on a certain character, his/her being either an art connoisseur or an ignoramus. Ekphrasis fulfils various functions: an aesthetically-appreciative, a descriptive, an emotionally-expressive, a character-drawing and a hermeneutic function.

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Souza, Vânia Lúcia Costa Alves, and Maria Rosicleide Martins Matos. "Project “What connects us to the world?”: Constructions of artistic cartographic representations." Abstracts of the ICA 1 (July 15, 2019): 1. http://dx.doi.org/10.5194/ica-abs-1-346-2019.

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Abstract. The links between art and cartography are deep, and integrate the knowledge generated by the combination of elements that involve the concepts of territory, culture, history, geography and power. The approximation of art and cartography occurs in the aesthetic and visual sense and invites us to unravel and reflect on its role in the spectrum of spatial representations. In schools, the artworks that involve cartographic representations offer us an opportunity to understand young people's relationships with local and global spaces, and the meaning of those relationship in their lives. The interpretation of these representations directs to the question: What does this image reveal in terms of the students identity construction related with the place of residence and the world? Since 2017, the Project “WHAT CONNECTS US TO THE WORLD?” is part of the list of Pedagogical Projects developed at the Educational Center 310 of Santa Maria in the Federal District, Brasília, Brazil. This is an interdisciplinary project with activities developed in the classes of Geography and Art during the academic year with the participation of students between the ages of 15 and 19. The main objective of the project is to encourage students to design artistic cartographic representations that express their connection with local and global spaces. The development of the project involves the cartographic and geography literacy activities in Geography classes and the development of artistic representations in art classes. There are six stages of development:<ol><li>Presentation of the project and generating ideas.</li><li>Deepening spatial concepts of place and territory. Identification of the elements that connect young people to local and global space.</li><li>Study of the various spatial representations (for example the map of Santa Maria, DF, map of Brazil and map mundi).</li><li>Selection of topics by students. Choice of spatial representation and artistic expression.</li><li>Oral presentation of the final paper.</li></ol>The results of the project were the various drawings that express topics of interest to the students such as: Corruption in Latin America, Internet, violence against women, destruction of nature, deforestation in Brazil and Latin America, social inequality, freedom and peace, social inequality in the world, patriotism.The four best drawings in the year of 2017 were sent to the Children's Cartography Contest Professor Livia de Oliveira.One first year student made her drawing with the theme Corruption in Latin America that question the lateness of the arrest of corrupt politicians, the increase of gasoline and the homicide of young people in Brazil. This result was widely reported by local newspaper and television because it was selected nationally as one of the winners in her category. The impact of this selection on the contest is reflected in the appreciation of the visual language to express the perceptions of young people and reveal their critical view in the interpretation of everyday facts. In 2018, 16 drawings were sent to the Children's Cartography Contest again e we are still waiting for the final classification.We considerably learned about our students when interpreting their drawings created for this project. Artistic cartographic representations shows the imagery of our students at that particular moment and help us to understand their social and spatial context.

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Combs, Allan L., Julia Black, Alan O'Donnell, Ruth Pope, Jerry Buckner, Lisa Crow, Karen Ray, and Josef A. Vandermeer. "Absorption and Appreciation of Visual Art." Perceptual and Motor Skills 67, no. 2 (October 1988): 453–54. http://dx.doi.org/10.2466/pms.1988.67.2.453.

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For 37 participants, 16 men and 21 women, scores on the Tellegen Absorption Scale significantly correlated with liking for abstract paintings but not with liking for representational ones. After completing the scale, each participant viewed 20 paintings in quasirandom order, 10 of representational works and 10 of abstract ones. Each was rated on a scale from 1 for strongly disliked to 5 for strongly liked. The Pearson correlation of .48 for abstract paintings was significant, while that of .16 for representational ones was not.

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Herzog, Jerneja, and Matjaž Duh. "The State of Art Appreciation among Nine- and Ten-Year-Old Students in Slovenian Primary Schools." Center for Educational Policy Studies Journal 10, no. 4 (December 22, 2020): 97–116. http://dx.doi.org/10.26529/cepsj.935.

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In the contemporary process of teaching fine arts, the students’ own creative expression and art appreciation are used to encourage learners towards both perception and reception; consequently, the evaluation and internalisation of works of art play an equally important role. In art education practice, we manage to provide adequate incentives and are able to follow incentives for artistic expression, but pay less attention to developing art appreciation. This research presents the results of a study that monitored the development of art appreciation abilities among 9- and 10-year-old students (4th and 5th grades; n = 2794) in Slovenian primary schools. The level of art appreciation abilities was rather average, but was more developed among older students and girls. In monitoring the school stratum, we did, however, notice a statistically significant difference regarding perception, whereby students in urban schools performed better than their peers in suburban schools.

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Duran, G., and M. A. Peterson. "Interaction Between Visual and Conceptual Processing in Art Appreciation." Journal of Vision 13, no. 9 (July 25, 2013): 1307. http://dx.doi.org/10.1167/13.9.1307.

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Böthig, Antonia M., and Gregor U. Hayn-Leichsenring. "Taste in Art—Exposure to Histological Stains Shapes Abstract Art Preferences." i-Perception 8, no. 5 (October 2017): 204166951773607. http://dx.doi.org/10.1177/2041669517736073.

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Exposure to art increases the appreciation of artworks. Here, we showed that this effect is domain independent. After viewing images of histological stains in a lecture, ratings increased for restricted subsets of abstract art images. In contrast, a lecture on art history generally enhanced ratings for all art images presented, while a lecture on town history without any visual stimuli did not increase the ratings. Therefore, we found a domain-independent exposure effect of images of histological stains to particular abstract paintings. This finding suggests that the ‘taste’ for abstract art is altered by visual impressions that are presented outside of an artistic context.

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Hagtvedt, Henrik, Vanessa M. Patrick, and Reidar Hagtvedt. "The Perception and Evaluation of Visual Art." Empirical Studies of the Arts 26, no. 2 (July 2008): 197–218. http://dx.doi.org/10.2190/em.26.2.d.

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Leymarie, Frederic Fol, and Prashant Aparajeya. "Medialness and the Perception of Visual Art." Art and Perception 5, no. 2 (June 5, 2017): 169–232. http://dx.doi.org/10.1163/22134913-00002064.

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In this article we explore the practical use of medialness informed by perception studies as a representation and processing layer for describing a class of works of visual art. Our focus is towards the description of 2D objects in visual art, such as found in drawings, paintings, calligraphy, graffiti writing, where approximate boundaries or lines delimit regions associated to recognizable objects or their constitutive parts. We motivate this exploration on the one hand by considering how ideas emerging from the visual arts, cartoon animation and general drawing practice point towards the likely importance of medialness in guiding the interaction of the traditionally trained artist with the artifact. On the other hand, we also consider recent studies and results in cognitive science which point in similar directions in emphasizing the likely importance of medialness, an extension of the abstract mathematical representation known as ‘medial axis’ or ‘Voronoi graphs’, as a core feature used by humans in perceiving shapes in static or dynamic scenarios. We illustrate the use of medialness in computations performed with finished artworks as well as artworks in the process of being created, modified, or evolved through iterations. Such computations may be used to guide an artificial arm in duplicating the human creative performance or used to study in greater depth the finished artworks. Our implementations represent a prototyping of such applications of computing to art analysis and creation and remain exploratory. Our method also provides a possible framework to compare similar artworks or to study iterations in the process of producing a final preferred depiction, as selected by the artist.

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Kim, Kyoung Jin, Su-Jeong Wee, Min-Kyung Han, Ji-Hyang Sohn, and Carolyn Walker Hitchens. "Enhancing children’s art appreciation and critical thinking through a visual literacy-based art intervention programme." International Journal of Education Through Art 13, no. 3 (September 1, 2017): 317–32. http://dx.doi.org/10.1386/eta.13.3.317_1.

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van Meel-Jansen, Annelies. "The Magical Number Five in Art Appreciation." Empirical Studies of the Arts 24, no. 1 (January 2006): 107–18. http://dx.doi.org/10.2190/763e-h2qn-19y0-a84n.

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Lin, Kuan-Cheng, Shu-Huey Yang, Jason C. Hung, and Ding-Ming Wang. "Web-Based Appreciation and Peer-Assessment for Visual-Art Education." International Journal of Distance Education Technologies 4, no. 4 (October 2006): 5–14. http://dx.doi.org/10.4018/jdet.2006100102.

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Turkmenoglu, Dilek. "Visual Perception and Drawing Relationship in Art Education." Procedia - Social and Behavioral Sciences 51 (2012): 849–52. http://dx.doi.org/10.1016/j.sbspro.2012.08.251.

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Stroeva, Olesya Vitalyevna. "The Effect of Media Culture on Modern Art: Photography, Hyperrealism, Video Art." Journal of Flm Arts and Film Studies 7, no. 1 (March 15, 2015): 82–91. http://dx.doi.org/10.17816/vgik7182-91.

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The article analyzes the problem of changing a perception of visual arts, as well as the transformation of art functioning mechanism emerged under the influence of media sphere evolution. The author treats the most popular genres of contemporary art: photography, hyperrealism and video art, analyzes a new type of media thinking, based on collective perception.

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FISHER, JOHN ANDREW, and JASON POTTER. "Technology, Appreciation, and The Historical View of Art." Journal of Aesthetics and Art Criticism 55, no. 2 (March 1, 1997): 169–86. http://dx.doi.org/10.1111/1540_6245.jaac55.2.0169.

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Temme, J. Elbert V., and Carline A. C. Gieszen. "Contrast Effects and Social Desirability in Art Appreciation." Empirical Studies of the Arts 13, no. 2 (July 1995): 171–81. http://dx.doi.org/10.2190/7eha-jdc4-uvbj-h1rv.

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In a number of experiments the effects of presenting different categories of art in contrasting order were explored. In the first experiment traditional and abstract paintings and Chinese calligraphy were used as stimuli, each type was contrasted with the other two, which led to shifts in appreciation as well as in perceived complexity. Two more experiments were performed. In one of these experiments fragments of traditional and modern classical music were presented. The same effect was found as when traditional and abstract paintings were contrasted: enhancement of the appreciation of traditional music but no decrease in the appreciation of modern music. It seems that when art is concerned only positive contrast effects are obtained. A possible explanation could be that it is considered socially undesirable to admit a lesser appreciation of modern than of traditional art. To test this hypothesis, socially ‘neutral’ stimuli, Chinese ideographs, differing in aesthetic quality, were contrasted. This yielded the expected positive as well as negative effects.

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Koenderink, Jan, and Andrea van Doorn. "Assemblage and Icon in Perception and Art." Art & Perception 1, no. 1-2 (2013): 5–18. http://dx.doi.org/10.1163/22134913-00002007.

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In The Problem of Form (1893), the German sculptor Adolf Hildebrand distinguishes categorically between perception obtained from multiple fixations or vantage points (G.: Bewegungsvorstellungen; we call these ‘assemblages’), and from purely ‘iconic’ imagery (G.: Fernbilder). Only the latter he considers properly ‘artistic’. Hildebrand finds the reason for this ontological distinction in the microgenesis of visual awareness. What to make of this? We analyze the various ‘modes of seeing’ in some detail. The conceptual issues involved are fundamental, and relevant to both vision science and the visual arts.

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Schmidt, Filipp. "The Art of Shaping Materials." Art and Perception 8, no. 3-4 (October 28, 2019): 407–33. http://dx.doi.org/10.1163/22134913-20191116.

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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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Gorglione, Nancy, and Brigitte Burgmer. "Holographic Art: Perception, Evolution, Future." Leonardo 22, no. 3/4 (1989): 439. http://dx.doi.org/10.2307/1575414.

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Bailey-Ross, Claire, Andrew M. Beresford, Daniel T. Smith, and Claire Warwick. "Aesthetic appreciation and Spanish art: insights from eye-tracking." Digital Scholarship in the Humanities 34, Supplement_1 (July 31, 2019): i17—i35. http://dx.doi.org/10.1093/llc/fqz027.

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Abstract Eye-tracking—the process of capturing and measuring human eye movement—is becoming an increasingly prevalent tool in the cultural heritage sector to understand visual processing and audience behaviours. Yet, most applications to date have focused on individual artworks and distinctions between representative/non-representative topics, with little prior work on the effects of differing written interpretations on the visual exploration of collections of artworks, particularly with devotional themes. This article reports on an eye-tracking study that explored responses to the unique collection of Francisco de Zurbarán paintings in County Durham. Using eye-tracking technology in a laboratory setting, we evaluated the viewing behaviour of three participant groups to determine whether the accompanying written context influences how digital reproductions are experienced. In addition to demonstrating statistically significant variations in aesthetic appreciation, the experiments showed that the gaze can be redirected towards areas of conceptual significance. Most importantly, we were able to challenge the assumption that viewers always look at faces (Bindemann et al., 2005). Our findings make an important new contribution to the scholarly understanding of how audiences view, appreciate, and understand artworks and to museum and heritage practices relevant to the display of art.

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Wilson, Amanda. "Multistable Perception of Art-Science Imagery." Leonardo 45, no. 2 (April 2012): 156–64. http://dx.doi.org/10.1162/leon_a_00282.

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How do artists, scientists and artist-scientists view images, and how does their cultural background affect their interpretation? The author proposes that artist-scientists may exhibit cultural multistability, akin to the perceptual multistability associated with viewing visual illusions such as the Necker cube. After carrying out a survey, the author suggests that all individuals may exhibit cultural multistability in response to a challenging image. The author postulates a tendency of artist-scientists to use textural descriptions and discusses coming to see her own images in a new light.

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Zielinski, Mirian. "Painting: A Phenomenological Semiotics of Art and Visual Perception." American Journal of Semiotics 17, no. 3 (2001): 233–44. http://dx.doi.org/10.5840/ajs200117324.

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Mamassian, Pascal. "Ambiguities and conventions in the perception of visual art." Vision Research 48, no. 20 (September 2008): 2143–53. http://dx.doi.org/10.1016/j.visres.2008.06.010.

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Welch, Leslie, and Carl Fasano. "Interdisciplinary Teaching of Visual Perception through Art and Science." Leonardo 49, no. 3 (June 2016): 220–25. http://dx.doi.org/10.1162/leon_a_00763.

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This paper tells the tale of an adventure in teaching an interdisciplinary course about visual perception, combining visual art and vision science, called “Making Visual Illusions.” The authors co-taught a course that brought together the hands-on methods of the art studio and the science laboratory, using visual illusions as a theme to guide student explorations. One unexpected issue that arose was the time needed to discuss basic concepts and the connections between fields in order to communicate the deeper ideas the students needed to learn. This paper explores aspects of the course that worked well and makes suggestions for improvement.

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Arslangazi, Havva. "Significance of Visual Perception in Education of Art History." Procedia - Social and Behavioral Sciences 51 (2012): 244–48. http://dx.doi.org/10.1016/j.sbspro.2012.08.153.

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Caballero, Antonia Ortega, Juan A. Vera Casares, and Manuel Ortega Caballero. "Visual Perception in Art Education. Gender and Intercultural Study." Procedia - Social and Behavioral Sciences 237 (February 2017): 588–93. http://dx.doi.org/10.1016/j.sbspro.2017.02.111.

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Campbell, Peter. "Seeing and seeing: visual perception in art and science." Physics Education 39, no. 6 (November 1, 2004): 473–79. http://dx.doi.org/10.1088/0031-9120/39/6/001.

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Folgerø, Per Olav, Christer Johansson, and Linn Heidi Stokkedal. "The Superior Visual Perception Hypothesis: Neuroaesthetics of Cave Art." Behavioral Sciences 11, no. 6 (May 26, 2021): 81. http://dx.doi.org/10.3390/bs11060081.

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Cave Art in the Upper Paleolithic presents a boost of creativity and visual thinking. What can explain these savant-like paintings? The normal brain function in modern man rarely supports the creation of highly detailed paintings, particularly the convincing representation of animal movement, without extensive training and access to modern technology. Differences in neuro-signaling and brain anatomy between modern and archaic Homo sapiens could also cause differences in perception. The brain of archaic Homo sapiens could perceive raw detailed information without using pre-established top-down concepts, as opposed to the common understanding of the normal modern non-savant brain driven by top-down control. Some ancient genes preserved in modern humans may be expressed in rare disorders. Researchers have compared Cave Art with art made by people with autism spectrum disorder. We propose that archaic primary consciousness, as opposed to modern secondary consciousness, included a savant-like perception with a superior richness of details compared to modern man. Modern people with high frequencies of Neanderthal genes, have notable anatomical features such as increased skull width in the occipital and parietal visual areas. We hypothesize that the anatomical differences are functional and may allow a different path to visual perception.

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de Sousa Vianna, Rachel. "Art Education and Urban Aesthetics." Leonardo 35, no. 3 (June 2002): 255–61. http://dx.doi.org/10.1162/002409402760105244.

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The widespread problem of visual illiteracy prevents people from perceiving the aesthetic quality of their surroundings. This inability represents a barrier to full participation by the public in debates over the kinds of cities they want to live in, and yet the physical qualities of the environment strongly affect the social and psychological well-being of its inhabitants. This article argues that art educators have an important role in fostering the awareness, understanding and appreciation of urban aesthetics. It then recounts the author's field study, which investigated the effectiveness of three instruments for developing understanding of urban aesthetics. The article concludes with some suggestions for art educators interested in developing programs for studying the urban environment.

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Gintere, Ieva. "ART SPACE: AN EXPERIMENTAL DIGITAL ART GAME." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 5 (May 20, 2020): 649. http://dx.doi.org/10.17770/sie2020vol5.4817.

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The article examines the discourse concerning modern game theory and suggests a new method of research and knowledge transfer in the field of digital art game creation. The method is embodied in the new game Art Space that utilizes current research results in the field of contemporary aesthetics. Art Space is an experimental digital game that is being created in collaboration between researcher, Dr.art. Ieva Gintere (Vidzeme University of Applied Sciences, Latvia) and the game artist, Mag.art. Kristaps Biters (Liepāja University, Latvia) within the framework of a post-doctoral project. The concept of this new art game arises from the historical heritage of modern art. The aim of the game is knowledge transfer: the author has been carrying out research into contemporary digital games in order to transfer the results of the research to develop an appreciation and understanding of aesthetics in Art Game’s players. The game links aesthetics to art games by identifying modern trends such as pixel art, glitch, noise, and others. Due to the dearth of written information on the subject of modern art heritage in digital games, the study presents an innovative approach to art gaming explaining modern art’s cultural backgrounds. The methods used are audio-visual and stylistic analyses of games as well as studies of the existing literature. The project hopes to raise the interest of the wider public concerning contemporary art and music, point out the newest creative tendencies in art, and suggest potential changes in the language of art in the near future. This paper continues previously published research that helped to create the concept and design of Art Space, and focuses on the trends of photorealism and futurism.

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Journal articles on the topic 'Art appreciation Art Visual perception'

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