Behavioral and autonomic responses to real and digital reproductions of works of art

Siri, Francesca; Ferroni, Francesca; Ardizzi, Martina; Kolesnikova, A. Y.; Beccaria, Marcella; Rocci, Barbara; Christov-Bakargiev, Carolyn; Gallese, Vittorio

doi:10.1016/bs.pbr.2018.03.020

Cited by 21 publications

(23 citation statements)

References 48 publications

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“…Our results which emerged from correlation analyses demonstrated that the more the participants gave high scores to the two aesthetic judgments, the more they wanted to touch the presented works of art, or vice-versa: the sense of tactile arousal might have augmented participants’ aesthetic pleasure. Noticeably, similar results were recently obtained by Siri et al (2018). These authors demonstrated a significant correlation between participant’s tendency to identify with the emotional states of fictional characters and the rating scores of explicit aesthetic judgment and desire to touch, both attributed to abstract works of art.…”

Section: Discussionsupporting

confidence: 84%

Haptic Aesthetics and Bodily Properties of Ori Gersht’s Digital Art: A Behavioral and Eye-Tracking Study

et al. 2019

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Experimental aesthetics has shed light on the involvement of pre-motor areas in the perception of abstract art. However, the contribution of texture perception to aesthetic experience is still understudied. We hypothesized that digital screen-based art, despite its immateriality, might suggest potential sensorimotor stimulation. Original born-digital works of art were selected and manipulated by the artist himself. Five behavioral parameters: Beauty, Liking, Touch, Proximity, and Movement, were investigated under four experimental conditions: Resolution (high/low), and Magnitude (Entire image/detail). These were expected to modulate the quantity of material and textural information afforded by the image. While the Detail condition afforded less content-related information, our results show that it augmented the image’s haptic appeal. High Resolution improved the haptic and aesthetic properties of the images. Furthermore, aesthetic ratings positively correlated with sensorimotor ratings. Our results demonstrate a strict relation between the aesthetic and sensorimotor/haptic qualities of the images, empirically establishing a relationship between beholders’ bodily involvement and their aesthetic judgment of visual works of art. In addition, we found that beholders’ oculomotor behavior is selectively modulated by the perceptual manipulations being performed. The eye-tracking results indicate that the observation of the Entire, original images is the only condition in which the latency of the first fixation is shorter when participants gaze to the left side of the images. These results thus demonstrate the existence of a left-side bias during the observation of digital works of art, in particular, while participants are observing their original version.

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Section: Discussionsupporting

confidence: 84%

Haptic Aesthetics and Bodily Properties of Ori Gersht’s Digital Art: A Behavioral and Eye-Tracking Study

et al. 2019

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“…The differences between original artworks and different reproductions, including digitized art images, have been empirically studied (Berns, 2001;Locher et al, 2001;Locher and Dolese, 2004). Siri et al (2018), for example, examined both the implicit sensorimotor and explicit cognitive responses of viewers when they observed artworks as originals in their physical form or as high-definition digital reproductions, both within a museum context and presented in the same size. Although there was no visible difference between originals and reproduced images in terms of physiological values, participants explicitly gave higher emotion scores to original artworks than to digital reproductions.…”

Section: Aesthetic Evaluation Of Digitized Artmentioning

confidence: 99%

“…Digitally reproduced art images are said to be similar to the originals, especially when it comes to specific aesthetic qualities of the image like color intensity, yet a difference is visible in terms of emotional reactions (Locher et al, 1999;Siri et al, 2018). Previous research has shown that higher saturated digitized images are preferred over less saturated ones (Tinio and Leder, 2009).…”

Section: Summary and Research Questionsmentioning

confidence: 99%

“…The effect of color saturation is assessed with regard to both general hedonic liking and various aesthetic outcomes tied to later processing stages (Pelowski et al, 2017). Based on the existing studies on the aesthetic evaluation of art (e.g., Leder et al, 2004;Pelowski et al, 2017) and, more specifically, on digitized reproductions of art (e.g., Locher and Dolese, 2004;Siri et al, 2018), we present the results of a quasi-experimental study of 75 art experts and 72 comparably inexperienced viewers of art.…”

Section: Introductionmentioning

confidence: 99%

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Aesthetic Evaluation of Digitally Reproduced Art Images

et al. 2020

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Most people encounter art images as digital reproductions on a computer screen instead of as originals in a museum or gallery. With the development of digital technologies, high-resolution artworks can be accessed anywhere and anytime by a large number of viewers. Since these digital images depict the same content and are attributed to the same artist as the original, it is often implicitly assumed that their aesthetic evaluation will be similar. When it comes to the digital reproductions of art, however, it is also obvious that reproductions do differ from the originals in various aspects. Besides image quality, resolution, and format, the most obvious change is in the representation of color. The effects of subjectively varying surface-level image features on art evaluation have not been clearly assessed. To address this gap, we compare the evaluation of digital reproductions of 16 expressionist and impressionist paintings manipulated to have a high color saturation vs. a saturation similar to the original. We also investigate the impact of viewing time (100 ms vs. unrestricted viewing time) and expertise (art experts vs. laypersons), two other aspects that may impact the perception of art in online contexts. Moreover, we link these dimensions to a recent model of aesthetic experience [the Vienna Integrated Model of Top-Down and Bottom-Up Processes in Art Perception (VIMAP)]. Results suggest that color saturation does not exert a major influence on liking. Cognitive and emotional aspects (interest, confusion, surprise, and boredom), however, are affected – to different extents for experts and laypersons. For laypersons, the increase in color saturation led to more positive assessments of an artwork, whereas it resulted in increased confusion for art experts. This insight is particularly important when it comes to reproducing artworks digitally. Depending on the intended use, increasing or decreasing the color saturation of the digitally reproduced image might be most appropriate. We conclude with a discussion of these findings and address the question of why empirical aesthetics requires more precise dimensions to better understand the subtle processes that take place in the perception of today’s digitally reproduced art environment.

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“…Among the different levels at which synchrony can occur, cardiac synchrony is our primary candidate to be investigated, because autonomic responses are key substrates of emotional experience [30][31][32] . Moreover, spontanous autonomic reactions are extremely common in responses to art [33][34][35] . To accomplish our goal, we recruited 12 quartets of spectators, each of which attended two live performances (monologues) played by one out of 12 actors.…”

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confidence: 99%

Audience spontaneous entrainment during the collective enjoyment of live performances: physiological and behavioral measurements

Ardizzi

Calbi

Tavaglione

et al. 2020

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cardiac synchrony is a crucial component of shared experiences, considered as an objective measure of emotional processes accompanying empathic interactions. no study has investigated whether cardiac synchrony among people engaged in collective situations links to the individual emotional evaluation of the shared experience. We investigated theatrical live performances as collective experiences evoking strong emotional engagement in the audience. Cross Recurrence Quantification Analysis was applied to obtain the cardiac synchrony of twelve spectators' quartets attending to two live acting performances. this physiological measure was then correlated with spectators' emotional intensity ratings. Results showed an expected increment in synchrony among people belonging to the same quartet during both performances attendance and rest periods. furthermore, participants' cardiac synchrony was found to be correlated with audience's convergence in the explicit emotional evaluation of the performances they attended to. These findings demonstrate that the mere co-presence of other people sharing a common experience is enough for cardiac synchrony to occur spontaneously and that it increases in function of a shared and coherent explicit emotional experience. Collective experiences are ubiquitous aspects of human culture where emotional activity finds its breeding epicenter. Being involved in collective events, like religious rituals, parades or team sports, fosters prosociality 1 and contributes to the creation of emotional bonds among group members 2. Coherently, it has been shown that the presence of others modulates how individuals feel, express and perceive emotions 3. Amongst the various group experiences populating our social life, specific forms of "collective art" can be included. Indeed, even if some forms of art can be described as "individual", in the sense that usually people enjoy them alone, others are commonly appreciated together with other people. This is the case of several performative arts (e.g., theatre, dance, music) in which people share the artistic experience as part of a group. Studies show that people react differently to these forms of art if they enjoy them alone or with others, suggesting that the presence of others plays a role. For example, at the autonomic level, people react more to music when they are alone than when are in a group 4,5. Differently, watching an aggressive movie clip modulates spectator's subsequent behaviors, on the basis of the attitude of the co-spectators 6. Furthermore, how people react to the mere presence of others influences their parasympathetic response to shared filmic experience 7. One interesting component of collective experiences, that recently drew increasing attention, is the spontaneous synchronization among group members. Synchrony is a well-known phenomenon occurring at different levels (e.g., behavioral, physiological and neural), and it is related to the presence of similar reactions among group members within a short period of time. For example, people...

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Behavioral and autonomic responses to real and digital reproductions of works of art

Cited by 21 publications

References 48 publications

Haptic Aesthetics and Bodily Properties of Ori Gersht’s Digital Art: A Behavioral and Eye-Tracking Study

Haptic Aesthetics and Bodily Properties of Ori Gersht’s Digital Art: A Behavioral and Eye-Tracking Study

Aesthetic Evaluation of Digitally Reproduced Art Images

Audience spontaneous entrainment during the collective enjoyment of live performances: physiological and behavioral measurements

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