CERAMICS-ART AND PERCEPTION最新文献

Emotions, Simulation, and Abstract Art 情感、模拟和抽象艺术

4区艺术学

CERAMICS-ART AND PERCEPTION Pub Date : 2021-10-25 DOI: 10.1163/22134913-bja10029

P. Johnson-Laird, K. Oatley

{"title":"Emotions, Simulation, and Abstract Art","authors":"P. Johnson-Laird, K. Oatley","doi":"10.1163/22134913-bja10029","DOIUrl":"https://doi.org/10.1163/22134913-bja10029","url":null,"abstract":"\u0000Some people feel emotions when they look at abstract art. This article presents a ‘simulation’ theory that predicts which emotions they will experience, including those based on their aesthetic reactions. It also explains the mental processes underlying these emotions. This new theory embodies two precursors: an account of how mental models represent perceptions, descriptions, and self-reflections, and an account of the communicative nature of emotions, which distinguishes between basic emotions that can be experienced without knowledge of their objects or causes, and complex emotions that are founded on basic ones, but that include propositional contents. The resulting simulation theory predicts that abstract paintings can evoke the basic emotions of happiness, sadness, anger, and anxiety, and that they do so in several ways. In mimesis, models simulate the actions and gestures of people in emotional states, elicited from cues in the surface of paintings, and that in turn evoke basic emotions. Other basic emotions depend on synaesthesia, and both association and projection can yield complex emotions. Underlying viewers’ awareness of looking at a painting is a mental model of themselves in that relation with the painting. This self-reflective model has access to knowledge, enabling people to evaluate the work, and to experience an aesthetic emotion, such as awe or revulsion. The comments of artists and critics, and experimental results support the theory.","PeriodicalId":42895,"journal":{"name":"CERAMICS-ART AND PERCEPTION","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77220677","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 3

“People are gazing” — An Interpretative Phenomenological Analysis of Viewing Velázquez “人们在凝视”——观看的解释性现象学分析Velázquez

4区艺术学

CERAMICS-ART AND PERCEPTION Pub Date : 2021-06-30 DOI: 10.1163/22134913-bja10027

Rachel A. Starr, Jonathan A. Smith

引用次数: 2

Aesthetic Experience and Creativity in Interactive Art 互动艺术中的审美体验与创造力

4区艺术学

CERAMICS-ART AND PERCEPTION Pub Date : 2021-05-13 DOI: 10.1163/22134913-BJA10024

Esma Betül Savaş, Thijs Verwijmeren, R. Lier

引用次数: 6

Orange & Teal 橙色和蓝绿色

4区艺术学

CERAMICS-ART AND PERCEPTION Pub Date : 2021-01-01 DOI: 10.1163/22134913-bja10018

J. Koenderink, A. van Doorn

引用次数: 1

Selective Preparation of Canvas as an ‘Artistic Device’ in David Hockney’s Early Paintings (1964–1972) 大卫·霍克尼早期绘画中作为“艺术工具”的画布选择性制备(1964-1972)

4区艺术学

CERAMICS-ART AND PERCEPTION Pub Date : 2020-10-28 DOI: 10.1163/22134913-bja10015

H. De Corte

{"title":"Selective Preparation of Canvas as an ‘Artistic Device’ in David Hockney’s Early Paintings (1964–1972)","authors":"H. De Corte","doi":"10.1163/22134913-bja10015","DOIUrl":"https://doi.org/10.1163/22134913-bja10015","url":null,"abstract":"In the mid-1960s and early 1970s, David Hockney opted for a particular application of primer in the ground layers of some of his paintings — that is, a partial or ‘selective’ type of preparation. By selectively preparing certain areas with one or more layers of (gesso) priming, Hockney introduced a slightly higher and white pictorial plane in selected areas while retaining the properties of raw canvas in others. In one of Hockney’s most discussed paintings, Portrait of an Artist (Pool with Two Figures), for instance, selective preparation divided the surface and set the stage from the ground up. This paper examines the impact of this highly original and hybrid formula on perception by the viewer, focusing on how the eye registers the change in properties of the paint layer. It outlines Hockney’s investigation of the primed/unprimed opposition through the use of selective preparation, and the variety of effects it allowed him to achieve in one canvas. From its anecdotal use in 1960s road trip paintings to its more pronounced use in pool paintings in which Hockney used unprimed canvas to convey the ‘wetness’ of water, selective preparation was a device for him to compellingly increase contrasts and tension. Far from producing mere formal effects or serving solely as citations (of stain paintings for instance), the perceived technical oddity produces meaning. From the ground layers up, it deeply influences the perception, and thus the interpretation of the discussed paintings.","PeriodicalId":42895,"journal":{"name":"CERAMICS-ART AND PERCEPTION","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-10-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90579108","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Editorial: The Skin of Things 社论:事物的表皮

4区艺术学

CERAMICS-ART AND PERCEPTION Pub Date : 2020-10-28 DOI: 10.1163/22134913-20190834

J. Stumpel, M. Wijntjes

{"title":"Editorial: The Skin of Things","authors":"J. Stumpel, M. Wijntjes","doi":"10.1163/22134913-20190834","DOIUrl":"https://doi.org/10.1163/22134913-20190834","url":null,"abstract":"Material perception — the visual perception of stuff — is an emerging field in vision science, as Filipp Schmidt states in this special issue on The Skin of Things. Remarkably, this can also be said for research in art history. In art studies there has been plenty of attention for the perception of space, depth cues, and various perspective systems to create 3D-worlds. One might almost call it an obsession – from White (1957) to Willats (1997), from Panofsky (1927) to Kubovy (1968). All the while, preciously little has been done on the recognition and rendering of stuff. It is not so easy to explain this situation − particularly when we look at the history of art. During approximately the last 500 hundred years of Western painting for instance, the rendering of material properties was of paramount importance for artist and audience alike. One can think of the reaction the Englishman John Pepys jotted down in his diary in 1669, upon viewing a flower still life by Simon Verelst. Here poppies and a tulip were delicately painted, each flower with the subtle surface characteristics of its petals: “I was forced again and again to put my finger to it to feel whether my eyes were deceived or not.” There are many more statements to indicate the wonderment and admiration painters could elicit when mastering material properties. From a critic in the 18th century we learn for instance how the 17th century painter Jan de Heem “... was praised especially for his desire to imitate gold and silver, [...] so natural that it seemed to be real gold and silver.” Indeed, De Heem’s fame and fortune were precisely based on such skills: refined visual evocations Jeroen Stumpel1,* and Maarten Wijntjes2,*","PeriodicalId":42895,"journal":{"name":"CERAMICS-ART AND PERCEPTION","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-10-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90717895","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

When Scenes Look Like Materials: René Magritte’s Reversible Figure–Ground Motif 当场景看起来像材料:雷诺·马格里特的可逆人物背景主题

4区艺术学

CERAMICS-ART AND PERCEPTION Pub Date : 2020-10-28 DOI: 10.1163/22134913-bja10002

J. Ritchie, B. Buren

引用次数: 4

Material Properties and Image Cues for Convincing Grapes: The Know-How of the 17th-Century Pictorial Recipe by Willem Beurs 令人信服的葡萄的材料特性和图像线索:17世纪绘画配方的诀窍威廉·伯尔斯

4区艺术学

CERAMICS-ART AND PERCEPTION Pub Date : 2020-06-15 DOI: 10.1163/22134913-bja10019

F. D. Cicco, Lisa Wiersma, M. Wijntjes, S. Pont

{"title":"Material Properties and Image Cues for Convincing Grapes: The Know-How of the 17th-Century Pictorial Recipe by Willem Beurs","authors":"F. D. Cicco, Lisa Wiersma, M. Wijntjes, S. Pont","doi":"10.1163/22134913-bja10019","DOIUrl":"https://doi.org/10.1163/22134913-bja10019","url":null,"abstract":"Painters mastered replicating the regularities of the visual patterns that we use to infer different materials and their properties, via meticulous observation of the way light reveals the world’s textures. The convincing depiction of bunches of grapes is particularly interesting. A convincing portrayal of grapes requires a balanced combination of different material properties, such as glossiness, translucency and bloom, as we learn from the 17th-century pictorial recipe by Willem Beurs. These material properties, together with three-dimensionality and convincingness, were rated in experiment 1 on 17th-century paintings, and in experiment 2 on optical mixtures of layers derived from a reconstruction of one of the 17th-century paintings, made following Beurs’s recipe. In experiment 3 only convincingness was rated, using again the 17th-century paintings. With a multiple linear regression, we found glossiness, translucency and bloom not to be good predictors of convincingness of the 17th-century paintings, but they were for the reconstruction. Overall, convincingness was judged consistently, showing that people agreed on its meaning. However, the agreement was higher when the material properties indicated by Beurs were also rated (experiment 1) than if not (experiment 3), suggesting that these properties are associated with what makes grapes look convincing. The 17th-century workshop practices showed more variability than standardization of grapes, as different combinations of the material properties could lead to a highly convincing representation. Beurs’s recipe provides a list of all the possible optical interactions of grapes, and the economic yet effective image cues to render them.","PeriodicalId":42895,"journal":{"name":"CERAMICS-ART AND PERCEPTION","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81191023","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 15

Capricious Texture of Time in Awareness and Art 意识与艺术中时间的反复无常

4区艺术学

CERAMICS-ART AND PERCEPTION Pub Date : 2020-06-08 DOI: 10.1163/22134913-bja10008

J. Koenderink, B. Pinna, A. V. Doorn

引用次数: 2

Thirty-Six Views of X: Variations on a Theme Reveal Individual artistsʼ Approaches to Composition 《X的三十六种观点:一个主题的变奏》揭示了艺术家个人的创作方法

4区艺术学

CERAMICS-ART AND PERCEPTION Pub Date : 2020-06-08 DOI: 10.1163/22134913-bja10003

N. Bruno

引用次数: 0