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  1. i-Perception
  2. Year: 2012, Volume: 3
  3. Year: 2012, Volume: 3, Issue: 1
  4. Aesthetic judgement of orientation in modern art
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Year: 2015, Volume: 6
Year: 2014, Volume: 5
Year: 2013, Volume: 4
Year: 2012, Volume: 3
Year: 2012, Volume: 3, Issue: 10
Year: 2012, Volume: 3, Issue: 8
Year: 2012, Volume: 3, Issue: 7
Year: 2012, Volume: 3, Issue: 5
Year: 2012, Volume: 3, Issue: 3
Year: 2012, Volume: 3, Issue: 2
Year: 2012, Volume: 3, Issue: 1
Components of aesthetic experience: aesthetic fascination, aesthetic appraisal, and aesthetic emotion
Aesthetic judgement of orientation in modern art
Aesthetic preference for spatial composition in multiobject pictures
Reading paths, eye drawings, and word islands: Movement in Un coup de dés
Illusory object motion in the centre of a radial pattern: The Pursuit–Pursuing illusion
Temporal patterns of saccadic eye movements predict individual variation in alternation rate during binocular rivalry
Year: 2011, Volume: 2
Year: 2010, Volume: 1

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Aesthetic judgement of orientation in modern art

Content Provider PubMed Central
Author Mather, George
Copyright Year 2012
Abstract When creating an artwork, the artist makes a decision regarding the orientation at which the work is to be hung based on their aesthetic judgement and the message conveyed by the piece. Is the impact or aesthetic appeal of a work diminished when it is hung at an incorrect orientation? To investigate this question, Experiment 1 asked whether naïve observers can appreciate the correct orientation (as defined by the artist) of 40 modern artworks, some of which are entirely abstract. Eighteen participants were shown 40 paintings in a series of trials. Each trial presented all four cardinal orientations on a computer screen, and the participant was asked to select the orientation that was most attractive or meaningful. Results showed that the correct orientation was selected in 48% of trials on average, significantly above the 25% chance level, but well below perfect performance. A second experiment investigated the extent to which the 40 paintings contained recognisable content, which may have mediated orientation judgements. Recognition rates varied from 0% for seven of the paintings to 100% for five paintings. Orientation judgements in Experiment 1 correlated significantly with “meaningful” content judgements in Experiment 2: 42% of the variance in orientation judgements in Experiment 1 was shared with recognition of meaningful content in Experiment 2. For the seven paintings in which no meaningful content at all was detected, 41% of the variance in orientation judgements was shared with variance in a physical measure of image content, Fourier amplitude spectrum slope. For some paintings, orientation judgements were quite consistent, despite a lack of meaningful content. The origin of these orientation judgements remains to be identified.
Related Links http://dx.doi.org/10.1068/i0447aap
Ending Page 24
Page Count 7
Starting Page 18
File Format PDF
ISSN 20416695
e-ISSN 20416695
Journal i-Perception
Issue Number 1
Volume Number 3
Language English
Publisher Pion
Publisher Date 2012-01-01
Access Restriction Open
Rights Holder Pion
Subject Keyword Research in Higher Education
Content Type Text
Resource Type Article
Subject Ophthalmology Experimental and Cognitive Psychology Artificial Intelligence Sensory Systems
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