The aim of the present study was to investigate whether the perception of presentation durations of pictures of different body postures was distorted as function of the embodied movement that originally produced these postures. Participants were presented with two pictures, one with a low-arousal body posture judged to require no movement and the other with a high-arousal body posture judged to require considerable movement. In a temporal bisection task with two ranges of standard durations (0.4/1.6 s and 2/8 s), the participants had to judge whether the presentation duration of each of the pictures was more similar to the short or to the long standard duration. The results showed that the duration was judged longer for the posture requiring more movement than for the posture requiring less movement. However the magnitude of this overestimation was relatively greater for the range of short durations than for that of longer durations. Further analyses suggest that this lengthening effect was mediated by an arousal effect of limited duration on the speed of the internal clock system.

F. C. Nather recebeu uma bolsa de doutorado do CNPq; J. L. O. Bueno recebeu uma bolsa de Pesquisador I e Auxílio à Pesquisa do CNPq.

Modulation of subjective time was examined using static images eliciting perceptions of different intensities of body movement. Undergraduate students were exposed to photographs of dancer sculptures in different dance positions for 36 sec. and asked to estimate the exposure duration. Lower movement intensities were related to shorter estimated durations. Mean durations for images of unmoving dancers were underestimated and for dancers taking a ballet step were overestimated. Temporal estimations were also related to the order of presentation of the stimuli, which suggested that subjective time estimations were influenced by the experimental context. Subjective time is related not only to the visual perception of moving images, but also of elicited perceptions of movement in static images, suggesting an embodiment effect on subjective time estimation.

The present study investigated the influence of body movement implied by artwork on time estimation and its relationship with eye movement. In Experiment 1, the participants were presented with static photographic images of Edgar Degas sculptures that implied different movements. The participants were asked to estimate their exposure times. Overestimation was found for the dancer who represented the greater movement. Eye movements were more directed to legs and arms in the ballerina that implied more movement, indicating more dynamic eye movements for this dancer, which was also overestimated. Experiment 2 further investigated whether this effect was specific to body representation or whether it was linked to the perceptual feature of the images. The participants were presented with drawings that mimicked global shapes (lines) of the Degas sculptures. Differences in time estimation were not obtained under this experimental condition. The results suggest an embodied perception of body movement that modulates eye movements and time estimation.

ResumoO estudo de imagens em movimento e de imagens estáticas que representam algum movimento contribui para o esclarecimento do papel do tempo como modulador da experiência humana. Diferentes formas de representar ou induzir movimento em estímulos ou distintas obras das artes visuais devem envolver não somente técnicas específicas, mas diferentes formas de interação que só ocorrem quando se dá o encontro entre obra e expectador. A percepção de movimento, muito provavelmente, não está confinada a uma simples decomposição ou soma das suas grandezas constituintes (tempo, espaço e velocidade), pois na sua cognição estão combinadas sensações e percepções internas e externas, que ocorrem em sistemas e níveis perceptuais distintos. Entretanto, processos correlatos devem responder pela percepção de movimentos reais, induzidos e representados. Sendo oriundo da intersecção espaço-temporal, a utilização do movimento em pesquisas de estética experimental pode contribuir para o esclarecimento dos processos que atuam na percepção subjetiva de tempo.Palavras-chave: tempo subjetivo; movimento; imagens; artes plásticas AbstractSubjective time and perception of movement in art works. The study of images in movement as well as those static images, which represent some movement, contributes to the understanding of the role of time as a modulator of the human experience. Different forms of representing and inducing movement in stimuli or in distinct works of visual art shall involve not only specific techniques, but different forms of interaction which only occur when there is an encounter between the work of art and the spectator. The perception of movement, probably, is not confined to a unique decomposition or sum of its constituent greatnesses (time, space and speed), thus in its cognition the internal and external sensations and perceptions are combined, which occur in distinct systems and perceptual systems. Nevertheless, correlated processes shall respond by the perception of real movements, induced and represented ones. Having come from the intersection of temporal space, the utilization of movement in studies of experimental aesthetics can contribute to the understanding of the processes that act in the subjective perception of time.Key words: subjective time; movement; images; visual arts U ma maneira de explicar o fenômeno estético é por meio da estética psicobiológica, na qual está inserida a estética experimental, originalmente definida por Gustav Fechner em 1876. A visão mais contemporânea da estética, a Nova Estética Experimental (Berlyne, 1974) estabelece como estudar obras de arte ou outros fenômenos estéticos, por meio de experiências que analisam as reações dos sujeitos aos estímulos artísticos. Esta área de pesquisa se caracteriza especialmente pela análise das relações entre variáveis independentes (trechos musicais, pinturas, desenhos, etc.) e variáveis dependentes (relatos verbais, medidas psicofisiológicas e comportamentais, etc.). Tais análises experimentais comportam, também, elementos teóricos importantes...

The impressionist artist Edgar Degas is widely known for his artistic production dedicated to the representation of movement. Degas has done a careful study, realistically depicting the movement both in his paintings of scenes of horses, women bathing and dancing, and in his sculptures of dancers in various positions of classical ballet. Since movements exist only at the intersection space-time, and visual works of art exist only in physical spaces defined by the works themselves, this article discusses the perception of time in the work of Degas. Therefore, this paper emphasizes aspects of the representation of movement used by the artist and the implied relations of these aspects with the perception of time. The timing perception is addressed according to studies that revealed components of the subjective perception of time related to a meeting of an observer with a work of visual art (aesthetic episode). The Temporality in Edgar Degas's Paintings and SculpturesSeveral pictures of impressionist artist Edgar Degas show dancers and women bathing, performing movements that became repetitive and habitual. 1 These works portray lapses of time indoors, revealing studies of body movement that underscore the inherent temporality of impressionistic painting. Degas's genius consisted precisely in his ability to capture, record and produce snapshots of scenes hitherto impossible to represent realistically. 1 In this essay the only issues discussed were those concerning the representation of movement in the work of Degas. To better understand social aspects showed in his work, brilliantly deployed in his paintings, see Anthea (1995) and Kendall and Pollock (1992).

Studies of subjective time have adopted different methods to understand different processes of time perception. Four sculptures, with implied movement ranked as 1.5-, 3.0-, 4.5-, and 6.0-point stimuli on the Body Movement Ranking Scale, were randomly presented to 42 university students untrained in visual arts and ballet. Participants were allowed to observe the images for any length of time (exploration time) and, immediately after each image was observed, recorded the duration as they perceived it. The results of temporal ratio (exploration time/time estimation) showed that exploration time of images also affected perception of time, i.e., the subjective time for sculptures representing implied movement were overestimated.

The mussel Anodontites trapesialis (Lam, 1819) was used as an indicator of organochlorine pollutants in the Pardo River, located in the municipality of Ribeirão Preto (21 degrees 07'S and 47 degrees 45'W), State of São Paulo, Brazil. Biological monitoring was performed for one year at the site of a sugar cane grove on the left bank of the river. Forty-three animals were placed in two aluminum enclosures on the river bottom at this site and 4 animals of each enclosure were sacrificed for pesticide analysis at 3-month intervals, each collection corresponding to one season of the year. The animals were found to have been exposed to DDT, lindane, heptachlor, aldrin and dieldrin. Endrin was not detected in any of the analyses.