Perceiving Intersensory and Emotional Qualities of Everyday Objects: A Study on Smoothness or Sharpness Features with Line Drawings by Designers

IF 1.1 0 ART
M. Sinico, Marco Bertamini, A. Soranzo
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引用次数: 4

Abstract

A large number of studies have focused on the aesthetic value of smoothly curved objects. By contrast, angular shapes tend to be associated with tertiary qualities such as threat, hardness, loudness, nervousness, etc. The present study focuses on the effect of curvilinearity vs angularity on the aesthetic experience of design artefacts. We used the drawings of everyday objects with novel shapes created by 56 designers (IUAV image dataset). Each drawing had two versions: a smooth and an angular version. To test new tertiary associations, beyond aesthetic value, we obtained ratings for seven characteristics (‘soft/hard, sad/cheerful, male/female, bad/good, aggressive/peaceful, agitated/serene, useless/useful’) from 174 naïve observers. Importantly, each naïve rater saw only one of the two versions of an object. The results confirmed a significant relation between smoothness and hardness as well as other (tertiary) associations. The link between smoothness and usefulness confirms that perceptual utility is significantly influenced by the shape of the object. This finding suggests that tertiary qualities convey both static and functional information about design objects. The role of perceptual constraints in drawing design artefacts is also discussed.
感知日常物品的感官间和情感特质:设计师线条画的平滑或锐度特征研究
大量的研究都集中在光滑曲线物体的美学价值上。相比之下,棱角分明的形状往往与第三种品质联系在一起,如威胁、坚硬、响亮、紧张等。本研究主要探讨曲线与棱角对设计品审美体验的影响。我们使用了由56位设计师(IUAV图像数据集)创建的具有新颖形状的日常物品的图纸。每幅画都有两个版本:平滑版和棱角版。除了审美价值之外,为了测试新的三级联想,我们从174名naïve观察者那里获得了七个特征(“软/硬、悲伤/愉快、男/女、坏/好、好斗/和平、激动/宁静、无用/有用”)的评级。重要的是,每个naïve评分者只看到一个对象的两个版本中的一个。结果证实了平滑度和硬度之间的显著关系以及其他(三级)关联。平滑度和实用性之间的联系证实了感知效用受到物体形状的显著影响。这一发现表明,第三质量传递了关于设计对象的静态和功能信息。本文还讨论了感知约束在绘图设计人工制品中的作用。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
CiteScore
1.70
自引率
28.60%
发文量
6
期刊介绍: The main objective of Art & Perception is to provide a high-quality platform to publish new artwork and research in the multi-disciplinary emerging bridge between art and perception. As such it aims to become the top venue to explore the links between the science of perception and the arts, and to bring together artists, researchers, scholars and students in a unified community that can cooperate, discuss and develop new scientific perspectives in this complex and intriguing new field. The purpose is not to minimize or erase the differences between the arts and sciences, which are grounded in venerable histories that are in many ways necessarily distinct. Rather, the ambition of the journal is to combine the differing methods and insights of artists and scientists in order to expand our knowledge of art and perceptual experience in a way that neither could do alone. Art & Perception will serve those across several areas of science studying the way works of art and design affect us perceptually, cognitively, or physiologically. The editors are also keen to receive submissions from practicing artists, and those in related fields of history and theory, which offer an artistic perspective on perception.
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