Postural and Emotional Impact of Carsten Höller’s Artwork “Light Corner”

Morize, Aurélien; Kapoula, Zoı̈

doi:10.1007/978-3-319-76054-4_9

Cited by 6 publications

(4 citation statements)

References 25 publications

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“…participants swayed with higher speed in the forward-backward direction in monocular viewing than in binocular viewing. As the forward-backward velocity is associated with the amount of energy required to keep the body stable while holding posture, participants required more energy to keep them stable during monocular viewing than binocular viewing [12]. Due to the lack of binocular disparity, with one eye open, it is more difficult to appreciate the proximity of the central X in space; it appears as if it is in a single plane with the others receding along the wall.…”

Section: Discussionmentioning

confidence: 99%

Art Exists Because the Viewer Exists: How François Morellet’s Triple X Neonly Influences Postural Control and Subjective Aesthetic Appreciation

et al. 2022

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We studied the effects of viewing François Morellet's Triple X Neonly (2012) on postural control and subjective appreciation. Triple X consists of 6 neon tubes arranged in a corner into a triple X pattern. Twenty-one participants were asked to view it with only one eye open (monocularly) and with both eyes open (binocularly). Their average forward-backward (anteroposterior) body sway root mean square (rms) velocity was significantly greater viewing it monocularly than binocularly. There were also large differences between subjects during monocular viewing for three of the six measured postural parameters (rms side-to-side (mediolateral) velocity, rms side-to-side displace-ment, and rms normalized area of the movement of the locus of centre of gravity). The participants showed very diverse subjective reactions to the artwork, yet their comments mainly concerned its apparent movement and depth. We conclude that binocular viewing allows the viewer more easily to appreciate the proximity of the central X, thus requiring less energy to keep the body stable. This study confirms the artist's success in involving viewers actively in their aesthetic experience: through their eye and body movements, the work engages them to actively contribute to the work itself.

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Section: Discussionmentioning

confidence: 99%

Art Exists Because the Viewer Exists: How François Morellet’s Triple X Neonly Influences Postural Control and Subjective Aesthetic Appreciation

et al. 2022

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“…The following parameters were analyzed: normalized area (NA in mm 2 /s), root mean square of mediolateral body sway (side-to-side distance or RMS of M/L distance in mm), root mean square of anterior–posterior body sway (forward–backward distance or RMS of A/P distance in mm), root mean square of mediolateral velocity (side-to-side velocity or RMS of M/L velocity in mm/s), RMS of anterior–posterior velocity (forward–backward velocity or RMS of A/P velocity in mm/s), and mean power frequency (MPF in Hz). The first three measurements describe the distance the body moved, whereas the last three describe the energy required to stabilize the body [ 35 ]. Body sway with feet placed side-by-side is modulated by two distinct muscle groups: at the ankle for anterior–posterior body sway and at the hip for mediolateral body sway [ 36 , 37 , 38 , 39 ].…”

Section: Methodsmentioning

confidence: 99%

Disconjugate Eye Movements in Dyslexic Adolescents While Viewing Op Art: A Creative Handicap?

Ward

Kapoula

2022

Brain Sciences

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Op art was created, in part, to produce illusions of movement. Given that dyslexics have been shown to have impaired visuo-postural axis deficits, it may be possible that dyslexics see illusions different than their non-dyslexic peers. To test this theory, we measured eye movement and posture in 47 dyslexic (18 female, 29 male; mean age 15.4) and 44 non dyslexic (22 female, 22 male; mean age 14.8) adolescents while they viewed three works of art by Op artist Bridget Riley. They then responded to a questionnaire about how they felt while viewing the artworks. Dyslexics demonstrated significantly slower saccades in terms of average velocity that was particularly disturbed in paintings that manipulated depth. Subjectively, dyslexics felt much more destabilized compared to their peers; however, there was not a significant difference in objective postural measurements between the two groups. The sensation of destabilization was positively correlated with appreciation in non-dyslexic adolescents. These subjective results suggest that dyslexics may be more sensitive to movement in depth, which could be related to the instability in vergence movements. Whereas this instability represents a hinderance in relation to reading, it could be an advantage while viewing paintings such as these.

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“…Regarding the body, one study assessed how installation art could have a measurable, objective impact on the body. Kapoula et al ( 2014 ) showed that Richard Serra's Promenade installation improved visitors' balance after walking around and alongside the artwork's laterally tilted monumental elements that play with depth and verticality (see also Nather et al, 2010 ; Kapoula et al, 2014 ; Vernet et al, 2018 for examples of how representation of movements or depth in visual art has been shown to modulate posture control). Kapoula et al's ( 2014 ) study did suggest that spatial properties of installation art can have an objective , measurable impact on the body, and the importance of ecologically valid testing.…”

Section: Review: Characteristics Of Installation Art and Arguments Fo...mentioning

confidence: 99%

The role of the body in the experience of installation art: a case study of visitors' bodily, emotional, and transformative experiences in Tomás Saraceno's “in orbit”

2023

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Installation art, with its immersive and participatory character, has been argued to require the use and awareness of the body, which potentially constitute key parts of the artwork's experience and appreciation. Heightened body awareness is even argued to be a key to particularly profound emotional or even transformative states, which have been frequently ascribed to this genre. However, the body in the experience of installation art has rarely been empirically considered. To address this gap, we investigated the body's role in the experience of Tomás Saraceno's in orbit installation. Based on a list of self-report items created from a review of the theoretical literature, we—for the first time—captured (quantitatively and qualitatively): what kind of subjective bodily experiences visitors (N = 230) reported, how these items grouped into clusters (using network science), and how these relate to emotion, art appraisal, and transformative outcomes. Network analysis of the items determined four communities related to “interoception,” “presence,” “disturbance,” and “proprioception.” Proprioception (e.g., awareness of balance/movement/weight) turned out to be a significant determinant of art appreciation in our study, and, together with “disturbing” body experiences (feeling awkward/watched/chills), coincided with transformation. We also assessed individual differences in body awareness yet did not find that these moderate those relationships. We suggest future research on installation art based on a more unified assessment of the role of the body in embodied-enactive aesthetics and its relation to the intensity and impact of art experience in general.

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Postural and Emotional Impact of Carsten Höller’s Artwork “Light Corner”

Cited by 6 publications

References 25 publications

Art Exists Because the Viewer Exists: How François Morellet’s Triple X Neonly Influences Postural Control and Subjective Aesthetic Appreciation

Art Exists Because the Viewer Exists: How François Morellet’s Triple X Neonly Influences Postural Control and Subjective Aesthetic Appreciation

Disconjugate Eye Movements in Dyslexic Adolescents While Viewing Op Art: A Creative Handicap?

The role of the body in the experience of installation art: a case study of visitors' bodily, emotional, and transformative experiences in Tomás Saraceno's “in orbit”

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