An empirical evaluation of the visual rightness theory of pictorial composition

Locher, PJ; Stappers, PJ Pieter Jan; Overbeeke, CJ Kees

doi:10.1016/s0001-6918(99)00044-x

Cited by 32 publications

(38 citation statements)

References 10 publications

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“…Participants’ aesthetic responses to such images were measured by fixing the position of one object in the frame and asking them to adjust the position of the other object to make the picture most aesthetically pleasing. (This task is analogous to that used by Locher et al (1999) in some of their studies of “visual rightness” of art works, but using much simpler pictures containing just two objects.) After all of those measurements were made twice, observers were asked to place the movable object in the least aesthetically pleasing position.…”

Section: Methodsmentioning

confidence: 99%

Aesthetic Preference for Spatial Composition in Multiobject Pictures

et al. 2012

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Five experiments examined preferences for horizontal positions in multiobject pictures. In Experiment 1, each picture contained a fixed object and an object whose position could be adjusted to create the most (or least) aesthetically pleasing image. Observers placed the movable object closer to the fixed object when the objects were related than when they were unrelated (a relatedness bias) but almost never overlapped them (a separation bias). Experiment 2 showed that these results were not due to demand characteristics by replicating them almost exactly in a between-participants design. In Experiment 3, preference rankings revealed a strong relatedness bias together with an inward bias toward the spatial envelope of objects to point into the frame. A weak balance effect was evident in a multiple regression analysis. Experiment 4 replicated the inward bias for the spatial envelope using multiobject groups. Experiment 5 generalized the above findings for different objects when observers had to choose between image pairs that differed only in interobject distance or degree of balance. Strong relatedness effects were again present, but there was no evidence of any preference for balance.

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Section: Methodsmentioning

confidence: 99%

Aesthetic Preference for Spatial Composition in Multiobject Pictures

et al. 2012

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“…People can also develop taste with training. Behavioral studies show differences in the way that art-experienced individuals and art-naïve individuals engage with works of art (Locher, Stappers, & Overbeeke, 1999;Hekkert & Van Wieringen, 1996). Understanding the neural basis for taste and the ways aesthetic judgment might be modified with training would be of great interest.…”

Section: The Nature Of Aesthetic Judgmentmentioning

confidence: 99%

Neuroaesthetics: A Coming of Age Story

Chatterjee¹

2011

Journal of Cognitive Neuroscience

300

230

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Neuroaesthetics is gaining momentum. At this early juncture, it is worth taking stock of where the field is and what lies ahead. Here, I review writings that fall under the rubric of neuroaesthetics. These writings include discussions of the parallel organizational principles of the brain and the intent and practices of artists, the description of informative anecdotes, and the emergence of experimental neuroaesthetics. I then suggest a few areas within neuroaesthetics that might be pursued profitably. Finally, I raise some challenges for the field. These challenges are not unique to neuroaesthetics. As neuroaesthetics comes of age, it might take advantage of the lessons learned from more mature domains of inquiry within cognitive neuroscience. Disciplines Medicine and Health Sciences CommentsThis journal article is available at ScholarlyCommons: http://repository.upenn.edu/neuroethics_pubs/58Neuroaesthetics: A Coming of Age Story Anjan Chatterjee Abstract ■ Neuroaesthetics is gaining momentum. At this early juncture, it is worth taking stock of where the field is and what lies ahead. Here, I review writings that fall under the rubric of neuroaesthetics. These writings include discussions of the parallel organizational principles of the brain and the intent and practices of artists, the description of informative anecdotes, and the emergence of experimental neuroaesthetics. I then suggest a few areas within neuroaesthetics that might be pursued profitably. Finally, I raise some challenges for the field. These challenges are not unique to neuroaesthetics. As neuroaesthetics comes of age, it might take advantage of the lessons learned from more mature domains of inquiry within cognitive neuroscience. ■

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“…Art historians have proposed that pleasing or dynamically balanced composition is a perceptual phenomenon that arises spontaneously from the interaction of "visual forces" across an image [1,2]. This view has been substantiated by experimental research [23,24,26] in cognitive psychology. Eye movements may play an important role in judgments about composition (see Locher [22] for a review).…”

Section: Composition In Psychology and Photographymentioning

confidence: 99%

Gaze-based interaction for semi-automatic photo cropping

Santella

Agrawala

DeCarlo

et al. 2006

Proceedings of the SIGCHI Conference on Human Factors in Computing Systems

325

182

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We present an interactive method for cropping photographs given minimal information about the location of important content, provided by eye tracking. Cropping is formulated in a general optimization framework that facilitates adding new composition rules, as well as adapting the system to particular applications. Our system uses fixation data to identify important content and compute the best crop for any given aspect ratio or size, enabling applications such as automatic snapshot recomposition, adaptive documents, and thumbnailing. We validate our approach with studies in which users compare our crops to ones produced by hand and by a completely automatic approach. Experiments show that viewers prefer our gaze-based crops to uncropped images and fully automatic crops.

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An empirical evaluation of the visual rightness theory of pictorial composition

Cited by 32 publications

References 10 publications

Aesthetic Preference for Spatial Composition in Multiobject Pictures

Aesthetic Preference for Spatial Composition in Multiobject Pictures

Neuroaesthetics: A Coming of Age Story

Gaze-based interaction for semi-automatic photo cropping

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