| Home > Scholarly Contributions > Abstracts > Volume 19 Issue 2
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| Volume 19 Issue 2
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Introduction
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Paul J. Locher and Lisa F. Smith, 2001, 19:2, 141-142.
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Abstract:
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Motivational Appeal, Aesthetic Appreciation, and Attributed Efficacy of Advertising Illustrations
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Paolo Bonaiuto, Valeria Biasi, Anna Maria Giannini, and Manuela Chiodetti, 2001, 19:2, 143-156.
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Abstract:
The influence of incongruity intolerance levels on people's aesthetic evaluation of two categories of visual images was examined. This study used advertising illustrations that prominently activated one of two opposing perceptual between image category and level of incongruity intolerance was obtained on aesthetic appreciation. Incongruity very intolerant persons deeply disliked the contradiction images, and appreciated the completion ones. On the other hand, incongruity very tolerant persons showed the exact opposite aesthetic tastes. Positive relationships were found between aesthetic scores and scores of attributed efficacy or convincing power for each category of advertising illustrations. Because advertising experts consider users aesthetic appraisal as a component of the objective efficacy of messages, we speculate that individual differences contribute to the contrasting effects of messages when the illustration diffusion is large and it is viewed by a heterogeneous population. processes: amodal completion, which involves the application and confirmation of already consolidated mental schemata, or perceptual contradiction, which highlights their conspicuous non-confirmation, thus generating incongruity experience. Forty young adults were divided into two subgroups: 20 very incongruity intolerant subjects and 20 very incongruity tolerant ones; both genders were equally represented. Incongruity intolerance levels were assessed with a specific quick visual procedure, the Building Inclination Test (Bonaiuto, Giannini, & Bonaiuto, 1989). Thirty-two advertising illustrations were selected from current magazines, 16 clearly based on amodal completion of objects, characters and environments and 16 on contradiction processes. In a double blind design, participants evaluated each illustration on aesthetic, structural, and physiognomic aspects, using 11-point scales. Scale orientation, scale order, and illustration order were counterbalanced. An interaction between image category and level of incongruity intolerance was obtained on aesthetic appreciation. Incongruity very intolerant persons deeply disliked the contradiction images, and appreciated the completion ones. On the other hand, incongruity very tolerant persons showed the exact opposite aesthetic tastes. Positive relationships were found between aesthetic scores and scores of attributed efficacy or convincing power for each category of advertising illustrations. Because advertising experts consider users’ aesthetic appraisal as a component of the objective efficacy of messages, we speculate that individual differences contribute to the contrasting effects of messages when the illustration diffusion is large and it is viewed by a heterogeneous population.
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Perceiving Emotions from Facial Expressions in Paintings
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George Erdos, Joan Harvey, and Ju-Lin Tan, 2001, 19:2, 157-166.
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Abstract:
Based on previous research on emotion in facial expressions, this study explored the judgment of emotion in art. Ten, not particularly well known paintings were selected that included at least one prominent facial expression, and slides were made of the facial expressions alone and of the whole paintings. Eighty students (40 art and 40 non-art) were recruited. Participants viewed all face-only slides one at a time before the whole-picture slides were presented. For each slide, participants provided (a) emotion labels, (b) ratings of confidence in their judgments, and (c) intensity ratings. Almost all modal responses for emotion labels matched the predicted categories, but percentage agreement varied substantially across slides. As predicted, some significant increases in confidence ratings were found, but intensity ratings did not change significantly across conditions. Possible determinants of the judgment of emotion are discussed, and findings are also related to Gestalt psychology and art education.
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Impact of a Game Booklet on Family Visit to an Art Exhibition
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Hana Gottesdiener and Jean-Christophe Vilatte, 2001, 19:2, 167-176.
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Abstract:
This study evaluated the impact of a game booklet on children s behavior during a visit to a temporary exhibition with their family. The children were divided into two groups. The first group received a game booklet prepared by the educational service of the museum. The second visited the exhibition without the help of the booklet. Several aspects of the children s visit were observed: duration of the visit, stops in front of masterpieces, itinerary, use of the booklet, and interactions with family members. At the end of the visit, the children were asked questions about the definition of Impressionism, the differences noted between the various paintings in the exhibition, and their knowledge of the names of the painters in the show. This was followed by a recognition task. It was found that the booklet induced a booklet itinerary, but it did not help memorization of the exhibit content nor did its use alter sociability within the family. These results appear linked to the specific population of the families studied, namely, those familiar with museums and Impressionist painting.
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Aesthetics Electrified: An Analysis of Descriptive Symmetry and Evaluative Aesthetic Judgment Processes Using Event-Related Brain Potentials
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Thomas Jacobsen and Lea Höfel, 2001, 19:2, 177-190.
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Abstract:
An event-related brain potential (ERP) study comparing descriptive and evaluative judgment processes is reported. Using identical stimuli to isolate perceptual from judgmental processes, the two judgment types were operationalized by employing symmetry and aesthetic judgments. Electrophysio-logical activity was recorded while participants viewed newly designed two-dimensional patterns in a pre-cued task setting. Judgment analyses of a Phase I test and performance in the main experiment revealed detailed paramorphic models of the individual judges cognitive systems as well as group models. Symmetry showed a strong positive correlation with judgments and was the most important cue in every case. Descriptive judgments were performed faster than evaluative judgments. The ERPs revealed a phasic frontal negativity in the non-aesthetic condition as well as a sustained posterior negativity in the symmetrical condition. All conditions showed late positive potentials (LPP). Evaluative judgment LPPs revealed a more pronounced right lateralization. It was concluded that descriptive symmetry judgment and evaluative aesthetic judgment processes differ dramatically and recruit, at least in part, different neural machinery.
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Auditory and Visual Interaction in the Aesthetic Evaluation of Environment
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Sonoko Kuwano, Seiichiro Namba, Masafumi Komatsu, Tohru Kato, and Yuki Hayashi, 2001, 19:2, 191-200.
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Abstract:
This study examined auditory and visual interaction in the aesthetic evalu-ation of the environment. Road traffic noise, sounds from leaves, and motion pictures coherent to auditory stimuli were used. There were four conditions: only auditory stimuli were presented in condition A, only visual stimuli in condition V, both auditory and visual stimuli in condition A+V, and after both auditory and visual stimuli were presented together, auditory stimuli were presented alone and judged in condition (V)A. A semantic differential technique indicated that scenery that included green plants contributed to the improvement of the environment even if only shown as an image. A scene with many cars gave a negative impression. However, even if the sound from the cars was audible, visual masking by green plants seemed effective in reducing the negative impression of road traffic noise.
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1983 at discounted rates.
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Determinants of Preference: When Do We Like What We Know?
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Helmut Leder, 2001, 19:2, 201-211.
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Abstract:
Repeated mere or unreinforced exposure positively affects the aesthetic response to various types of stimuli. Studies using artworks in laboratory experiments in which familiarity was experimentally manipulated revealed little or no effects of repeated exposure. The lack of mere exposure effects with artworks might be due to factors such as knowledge, stimulus complexity, or level of liking. In the present article, five studies are reported in which the relationship between familiarity and liking for 54 reproductions of van Gogh paintings was investigated under different conditions of evaluation and information about the paintings. Studies 1 and 2 revealed that positive correlations existed for liking and familiarity ratings even when it was possible that some of the stimuli seen were not original paintings. The correlations were significantly reduced when the beholder was told that all stimuli were fakes of van Gogh paintings (Study 3) and that they were fakes or non-van Goghs (Study 4). In Study 5, the correlation was reduced when inspection time was increased, thus, simple familiarity-liking relations are weakened by knowledge and are greater in spontaneous judgments.
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1983 at discounted rates.
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Artists Use of Compositional Balance for Creating Visual Displays
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Paul Locher, Els Cornelis, Johan Wagemans, and Pieter Jan Stappers, 2001, 19:2, 213-227.
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Abstract:
This study sought empirical evidence that balance influences the way adults trained in the visual arts create visual displays. Thirty-two volunteers made four designs each using two different types of shapes (rectangles or quadrilaterals) within two types of pictorial fields (a circular or rectangular format). A videotape recording of the development of each design from start to completion was used to create a digitized record of its image at 20 percent intervals of the time taken for completion. It was found that, regardless of element type, format, or phase of construction, the center of a design was closely aligned with the geometric center of the pictorial field. Furthermore, the structural or physical weight of the compositional elements measured quantitatively was evenly distributed (balanced) about the principal axes of the designs throughout their construction. These findings demonstrate the power of the center of a circular and rectangular field to function as an anchor or balancing point about which a design s structural skeleton is organized by artists.
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1983 at discounted rates.
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Spending Time on Art
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Jeffrey K. Smith and Lisa F. Smith, 2001, 19:2, 229-236.
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Abstract:
Conventional wisdom among museum professionals is that art museum visitors do not spend much time viewing works of art. The purpose of this study was to empirically investigate that question as well as to look at the relationship that age, gender, and group size have on viewing times. Visitors to The Metropolitan Museum of Art were observed as they looked at six masterpieces in the Museum s collection. A total of 150 individuals looking at six paintings comprised the sample for the study. The observations were of naturally occurring stops at the works of art. The gender, group size, estimated age, and time spent at the work of art were recorded for each encounter. The mean time spent viewing a work of art was found to be 27.2 seconds, with a median time of 17.0 seconds. Viewing time was not related to gender or age, but was strongly related to group size, with larger groups spending more time. There were also significant differences among paintings. Results are discussed in terms of how different types of looking patterns may be related to the amount of time spent in front of works of art.
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Buy the whole article at baywood.com - online shop now.
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1983 at discounted rates.
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