The Role of Formal Art Training on Perception and Aesthetic Judgment of Art Compositions

Nodine, Calvin F.; Locher, Paul J.; Krupiński, Elizabeth A.

doi:10.2307/1575815

Cited by 215 publications

(198 citation statements)

References 17 publications

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“…Unsophisticated and art-trained individuals' initial aesthetic reaction to an artwork, just as with many types of non-aesthetic everyday stimuli, constitutes the first stage of a broad two-stage processing framework of aesthetic experience with visual art proposed by this author and his colleagues (e.g., Locher et al 2007;Locher 2012;Nodine et al 1993).…”

Section: The Painting Gistmentioning

confidence: 99%

The Aesthetic Experience with Visual Art “At First Glance”

Locher

2015

Contributions to Phenomenology

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The aesthetic experience with visual art has been shown to occur in two stages. Upon initial exposure to a painting, a viewer spontaneously generates a global impression, or gist, of the work. One's first impression of a painting includes a sense of its pictorial content, overall structural organization and style, meaningfulness, and an affective reaction to it. When gist information in a painting is deemed to have sufficient interest to an observer, the second stage of aesthetic processing ensues. This consists of directed focal exploration of the image to expand knowledge concerning the work's compositional features and organization to satisfy cognitive curiosity and to develop aesthetic appreciation of a composition. This chapter presents an overview of research findings that have identified the types of visual properties and semantically related information that collectively lead to the activation of what is labeled a "painting gist" by this author. In addition, the influence of the painting gist response on the focal exploration of paintings is discussed.

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Section: The Painting Gistmentioning

confidence: 99%

The Aesthetic Experience with Visual Art “At First Glance”

Locher

2015

Contributions to Phenomenology

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“…In a similar fashion, it is important to understand the voluntary, self-directed viewing of astronomical images on the Internet (and, when applicable, astronomical images in museum settings). Therefore, research on the psychology of aesthetics informs both the designs and the approaches to measurement used in this study.The third area of research that we draw upon has to do with expert/novice differences.Research in expert/novice differences began in the early 1980s (Chi, Feltovich, & Glaser, 1981) and has been extended to a wider variety of domains including differences in chess players, engineers, schoolteachers, and people looking at art (Cook, 2006;Nodine, Locher, & Krepinski, 1993;Silvia, 2006;Simon, 1990). One of the more robust findings of this literature is that experts have a store of knowledge that they can call upon without using extensive cognitive resources.…”

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confidence: 99%

Aesthetics and Astronomy: Studying the Public’s Perception and Understanding of Imagery From Space

Smith

Arcand

et al. 2010

Science Communication

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This study examined the scientific understanding of astronomical pictures by experts and nonexperts. It explored how both groups perceive astronomical images, and their understanding of both what they are seeing and the science that underlies the images. Data comprised n = 8866 responses from a survey linked to the NASA Astronomical Picture of the Day web site and 4 focus groups held at the Harvard-Smithsonian Center for Astrophysics. Results indicated that variations in presentation of color, explanation, and scale affect comprehension of astronomical imagery. With those who are more expert, shorter, more technical explanations are effective; however, scales are still necessary for complete comprehension. Experts tend to look at the images from a more scientific, data-oriented perspective while non-experts are more likely to focus, especially initially, on the aesthetic or emotional values of the images. Results provide suggestions for educational outreach to the public. Aesthetics and Astronomy 3Aesthetics and Astronomy: Studying the public's perception and understanding of non-traditional imagery from space Some 400 years after Galileo, modern telescopes have enabled humanity to "see" what the natural eye cannot. Astronomical images today contain information about incredibly large objects located across vast distances and reveal information found in "invisible" radiation ranging from radio waves to X-rays. The current generation of telescopes has created an explosion of images available for the public to explore. This has, importantly, coincided with the maturation of the Internet. Every major telescope has a web site, often with an extensive gallery of images. New and free downloadable tools exist for members of the public to explore astronomical data and even create their own images.In short, a new era of an accessible universe has been entered, in which the public can participate and explore like never before. But there is a severe lack of scholarly and robust studies to probe how people -especially non-experts -perceive these images and the information they attempt to convey. Most astronomical images for the public have been processed (e.g., color choices, artifact removal, smoothing, cropping/field-of-view shown) to strike a balance between the science being highlighted and the aesthetics designed to engage the public. However, the extent to which these choices affect perception and comprehension is, at best, poorly understood. The goal of the studies presented here was to begin a program of research to better understand how people perceive astronomical images, and how such images, and the explanatory material that accompanies them, can best be presented to the public in terms of understanding, appreciation, and enjoyment of the images and the science that underlies them. The Perception of ImagesBecause the study of the perception of astronomical images is in its infancy, it is not Aesthetics and Astronomy 4 possible to draw directly on prior research. As a starting point, therefore, we look to t...

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“…For instance, Nodine, Locher, and Krupinski (1993) showed that individuals who were professionally involved in chess, darts, and goal keeping engaged in longer observing responses during a game than individuals who were not professionally involved. Nodine et al speculated that with the improvement of a certain skill, a person would also be able to extract more information from a single eye-fixation per observing response (i.e., make an eye-movement more economic).…”

Section: Specialized Skillsmentioning

confidence: 99%

Fixating, attending, and observing: a behavior analytic eye-movement analysis

Hansen

Arntzen

2015

European Journal of Behavior Analysis

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The use of eye-tracking technology to study eye-movements has increased substantially over the last decade. For instance, areas that relate to image scanning, matching-to-sample learning, driving, and reading exhibit this trend. Despite the fact that eyetracking technology reveals a participant's eye-movement and fixation pattern during an experiment, when can we say that he or she has emitted an ocular observing response to a visual discriminative stimulus? The purpose of the present article is to focus on some influential publications on the observing response and eye-fixation, investigated with eye-tracking technology, and thereby to provide a conceptual distinction between fixating, observing, and attending. Basically, (a) eye-fixations are detected by event-specific algorithms; (b) ocular observing responses occur with and without clear-cut eye-fixation; and (c) ocular observing responses are context-specific, hence, vary across behaviors, settings, and individuals. Finally, we describe in-depth dependent fixation measures as rate, number, proportion, and pattern to offer a broad view on how eye-tracking analysis can provide us with a better understanding of complex human behavior. ARTICLE HISTORY

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The Role of Formal Art Training on Perception and Aesthetic Judgment of Art Compositions

Cited by 215 publications

References 17 publications

The Aesthetic Experience with Visual Art “At First Glance”

The Aesthetic Experience with Visual Art “At First Glance”

Aesthetics and Astronomy: Studying the Public’s Perception and Understanding of Imagery From Space

Fixating, attending, and observing: a behavior analytic eye-movement analysis

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