Subjective time perception is affected by different durations of exposure to abstract paintings that represent human movement.

Abstract

Time perception can be affected by real emotional pictures of people that evoke different levels of arousal. Figurative artwork images of body postures that imply movement with different intensities and evoke different levels of arousal can modulate the perception of time. The present study investigated whether abstract paintings that represent motion in different ways affect the perception of time when subjects are exposed to the paintings for different durations. Undergraduate students observed 20 abstract paintings from different artistic schools (i.e., cubism, constructivism, expressionism, and futurism). They observed for 3 s each painting and estimated the time of exposure (reproduction method). After the time estimations, the subjects completed different semantic Movement, Arousal, Complexity, and Recognition scales to obtain information about how the painting compositions were perceived. Time distortions were observed for only two cubist paintings that represented human forms, which were related to both evoked arousal and implied movement (Experiment 1). Experiment 2 further verified whether these time distortions were related to implied movement perception or arousal. Different groups of participants were exposed for 3 and 9 s to only four cubist paintings that represented human forms. These time exposures (3 and 9 s) were used because the arousal-evoking effects may be transient for exposure times that are longer than 2-3 s. The data analysis revealed overestimation of time for the cubist painting that had greater arousal and movement scores only when the subjects were exposed for 9 s, showing that implied movement in abstract human figures is more effective than images with emotional content. We discuss the effect of durations of exposure to pictorial characteristics of artwork on time perception, emphasizing aspects of the visual perception of human forms in cubist paintings and arousal effects in an aesthetic episode.

Move Still: The Effects of Implied and Real Motion on the Duration Estimates of Dance Steps

“…This finding cannot be accounted for by an arousal modulation and was, thus, interpreted based on the “change model” (e.g., Poynter, 1989), where body positions implying motion of higher as compared to lower intensity were considered as stimuli that involved more changes/events resulting in an interval overestimation. Further efforts to clarify such inconsistencies showed that the: intervals presented (e.g., Nather & Bueno, 2012b, examined intervals of 9, 18, 27, and 45 s and found an overestimation for stimuli of higher intensity in implied motion only for the 27 s), task implemented (e.g., eye-tracking along with force-platform in a reproduction task; Nather, Bueno, & Bigand, 2009, 2013; Nather et al., 2010), and type of stimuli utilized (e.g., cubist-abstract paintings, optical art, animals vs. human figures; Nather, Anelli, Ennes, & Bueno, 2015; Nather, Fernandes, & Bueno, 2012, 2014; Nather, Mecca, & Bueno, 2013), could modulate time estimation of implied motion. Overall, this line of research does not allow for any integrative conclusions on the role of implied motion on timing, as results are often contradictory.…”

Investigação das alterações na percepção temporal pela presença de altos níveis de dependência de smartphone

“…Melhor indicado para análises do processamento sensorial ligado à percepção da passagem do tempo, o modelo do Relógio Interno prediz que os mecanismos cerebrais ativados durante a exposição à estímulos externos que se repetem regularmente, sob a forma de pulsos, passam a diferir entre si a depender do tempo de duração destes mesmos estímulos (Block & Zazay, 1996), ancorando-se na constatação de que haveria uma relação diretamente proporcional entre o acúmulo de pulsos percebidos e a indicação, pelos participantes, de estimativas temporais mais longas. Ou seja, enquanto que uma exposição de até 3 segundos envolveria predominantemente os circuitos neurais ligados à memória de trabalho (Rammsayer, Borter & Troche, 2015), estímulos na faixa dos 4 segundos seriam predominantemente influenciados pelos sistemas de ativação do estado de alerta (Nather, Fernandes & Bueno, 2014) e, acima dos 9 segundos, envolveriam mais intensamente as áreas da atenção (Droit-Volet, Monceau, Berthon, Trahanias & Maniadakis, 2018). Considerando que o estímulo visual adotado na presente pesquisa utilizouse da alternância regular de cores, tal qual um pulso, com a atividade tendo duração total de 466 segundos (7 min 46 segundos), o modelo teórico supracitado parece se alinhar aos achados coletados à luz dos objetivos de análise propostos na presente pesquisa.…”

“People are gazing” — An Interpretative Phenomenological Analysis of Viewing Velázquez

“…Research involving both viewers and art objects has traditionally been dominated by two comparative paradigms. Experts are regularly compared to novice viewers (Augustin and Leder, 2006;Silvia, 2006;Vogt and Magnussen, 2007;Pihko et al, 2011;Shourie, Firoozabadi and Badie, 2014;Koide et al, 2015;Park, Yun and Jeong, 2015;van Paasschen, Bacci and Melcher, 2015) as is viewing of representational versus abstract artworks (Furnham and Walker, 2001;Vogt and Magnussen, 2005;Kuisma, 2009, 2012;Vessel and Rubin, 2010;Nather, Fernandes and Bueno, 2014;Cattaneo et al, 2015;Schepman et al, 2015).…”