Contemporary Experimental Aesthetics: Procedures and Findings

Locher, Paul J.

doi:10.1016/b978-0-444-53776-8.00003-9

Cited by 11 publications

(8 citation statements)

References 43 publications

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“…Much more often, eye movements are analyzed from the first second after onset of the exposure time of the single painting (e.g., Kapoula et al, 2008 ), the first five (e.g., Vogt and Magnussen, 2007 ), or first 10 s (e.g., Pihko et al, 2011 ). This idea is based on the concept of the two phases of an aesthetic experience with paintings, according to which, during the first few seconds of viewing the painting, its aesthetic value is determined, and then the viewing time is devoted to more detailed exploration (Locher et al, 2007 ; Locher, 2014a ). Simultaneous exposure of two or more paintings causes that the number of fixations of eyes on paintings being compared do not necessarily evenly distribute on them.…”

Section: Discussionmentioning

confidence: 99%

Eye Movement Correlates of Expertise in Visual Arts

Francuz¹,

Zaniewski²,

Augustynowicz³

et al. 2018

Front. Hum. Neurosci.

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The aim of this study was to search for oculomotor correlates of expertise in visual arts, in particular with regard to paintings. Achieving this goal was possible by gathering data on eye movements of two groups of participants: experts and non-experts in visual arts who viewed and appreciated the aesthetics of paintings. In particular, we were interested in whether visual arts experts more accurately recognize a balanced composition in one of the two paintings being compared simultaneously, and whether people who correctly recognize harmonious paintings are characterized by a different visual scanning strategy than those who do not recognize them. For the purposes of this study, 25 paintings with an almost ideal balanced composition have been chosen. Some of these paintings are masterpieces of the world cultural heritage, and some of them are unknown. Using Photoshop, the artist developed three additional versions of each of these paintings, differing from the original in the degree of destruction of its harmonious composition: slight, moderate, or significant. The task of the participants was to look at all versions of the same painting in pairs (including the original) and decide which of them looked more pleasing. The study involved 23 experts in art, students of art history, art education or the Academy of Fine Arts, and 19 non-experts, students in the social sciences and the humanities. The experimental manipulation of comparing pairs of paintings, whose composition is at different levels of harmony, has proved to be an effective tool for differentiating people because of their ability to distinguish paintings with balanced composition from an unbalanced one. It turned out that this ability only partly coincides with expertise understood as the effect of education in the field of visual arts. We also found that the eye movements of people who more accurately appreciated paintings with balanced composition differ from those who more liked their altered versions due to dwell time, first and average fixation duration and number of fixations. The familiarity of paintings turned out to be the factor significantly affects both the aesthetic evaluation of paintings and eye movement.

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Section: Discussionmentioning

confidence: 99%

Eye Movement Correlates of Expertise in Visual Arts

Francuz¹,

Zaniewski²,

Augustynowicz³

et al. 2018

Front. Hum. Neurosci.

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“…Bullot y Reber, 2013; Jacobsen, 2006;Leder et al, 2004;Locher, 2006Locher, , 2011Locher, , 2014Silva, 2009, 2012): a) Proveer a los participantes información sobre el estilo de pintores abstractos, incrementa los valores de preferencia en los sujetos. Sin embargo, este incremento en las preferencias no se observa en participantes con un alto nivel de experiencia artística (Belke et al, 2006) b) Existe una correlación positiva entre cómo se evalúa una pintura ("goodness") y la facilidad con la que el observador puede inferir la intención del autor al realizar esa pintura.…”

Section: Vartanian Y Goel 2004)unclassified

Estética y neurociencia: estableciendo puentes

Langer¹

2019

Pelícano

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Aesthetics and Neuroscience: Establishing BridgesResumenEl estudio de las “bases neuronales de la apreciación artística” es un campo disciplinario en rápido crecimiento dentro de las llamadas neurociencias cognitivas. Este nuevo campo epistemológico se conoce popularmente como neuroestética. En este artículo vamos a mostrar que a) los presupuestos filosóficos de las neuroestéticas son contraproducentes para el estudio neurocognitivo del arte y, b) la evidencia empírica refuta algunos de los postulados centrales de la neuroestética. Asimismo, vamos a introducir algunos fundamentos teóricos y experimentales que muestran que el estudio neurocognitivo de la apreciación artística es no sólo posible, sino que el mismo es una pieza fundamental dentro del campo considerado como una “ciencia del arte” cuyo carácter es interdisciplinario.AbstractThe study of the “neural bases of artistic appreciation” is a rapidly growing disciplinary field within the so-called cognitive neurosciences. This new epistemological field is popularly known as neuroaesthetics. In this article we will show that a) the philosophical foundations of neuroesthetics are counterproductive for the neurocognitive study of art and b) the empirical evidence refutes some of the central postulates of neuroaesthetics. Likewise, we are going to introduce some theoretical and experimental foundations that show that the neurocognitive study of artistic appreciation is not only possible but it is a fundamental piece within an “art science” of an interdisciplinary nature.Key words: Aesthetics, Neuroscience, Neuroesthetics, Neurocognitive.

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“…Eye tracking technique has an important potential for revealing the perceptual and cognitive processes underlying the aesthetic evaluation of the artworks. It is used for empirical examination of art processes by many researchers (Borji and Itti, 2014;Einhäuser, Spain, & Perona, 2018;Francuz, Zaniewski, Augustynowicz, Kopiś & Jankowski, 2018;Kesner et al, 2018;Locher, 2014;Locher, Gray and Nodine, 1996;Locher, Krupinski and Schaefer, 2015;Nodine, Mello-Thoms, Krupinsky, Locher, 2008). For example, the reactions of the pupils were examined when they encounter an aesthetic image (Johnson, Muday, & Schirillo, 2010;Kuchinke, Trapp, Jacobs, & Leder, 2009).…”

Section: Introductionmentioning

confidence: 99%

Sanat Eğitimi ve Uzmanlık: Bir Göz İzleme Çalışması

Cangöz

Oktay

Kayiran

et al. 2021

Hacettepe Üniversitesi Edebiyat Fakültesi Dergisi

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The impact of education and expertise in art on the process of examining a work of art has been studied in the present study via eye tracking method. The main purpose of the study was to compare a group of experts and non-experts in art with regard to eye tracking measurements, artwork analyses and recall performance. In this research, expert and non-expert groups were compared in terms of eye tracking measurements, heat maps, artwork analysis and the recall performances. Heat maps were demonstrated that experts viewed Early Renaissance and Fauvism movements, artworks more while non-experts viewed Fauvist artworks more in comparison with AOIs. However, it was indicated that there is no statistically significant difference between the expert and non-expert groups for each artwork about eye metrics and recall performance during art-work analysis. On the other hand, artwork analysis grades of the experts were deter-mined to be higher at a statistically significant level in comparison with the non-experts.

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Contemporary Experimental Aesthetics: Procedures and Findings

Cited by 11 publications

References 43 publications

Eye Movement Correlates of Expertise in Visual Arts

Eye Movement Correlates of Expertise in Visual Arts

Estética y neurociencia: estableciendo puentes

Sanat Eğitimi ve Uzmanlık: Bir Göz İzleme Çalışması

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