The influence of the physical context and knowledge of artworks on the aesthetic experience of interactive installations

Effectiveness of labels in digital art experience: psychophysiological and behavioral evidence

Introduction

Nowadays museums make large use of digital materials (e.g., virtual tours) to attract visitors. Therefore, it is worthwhile investigating which variables affect the engagement with art outside the museum, and whether digital reproductions of artworks are as effective as museum originals in producing a satisfying aesthetic experience.

Methods

Here we tested the effectiveness of introducing additional informative materials on the artistic enjoyment of contemporary paintings presented on a computer screen. Naïve observers were exposed to essential and descriptive labels before viewing artworks. We flanked traditional measurement methods - viewing times and questionnaires, with biometric parameters - pupil responses, eye movements, heart rate, and electrodermal activity. The results were then compared to our previous museum study that adopted the same experimental paradigm.

Results

Our behavioral and psychophysiological data lead to a complex pattern of results. As found in the museum setting, providing detailed descriptions decreases complexity, evokes more positive sensations, and induces pupil dilation but does not enhance aesthetic appreciation. These results suggested that informative labels improve understanding and emotions but have a limited impact on the hedonic evaluation of artworks in both contexts. However, other results do not mirror those found in the museum; in the laboratory setting, participants spend a similar amount of time, have a comparable gaze behavior, and their electrodermal activity and heart rate do not change when viewing artworks with different types of labels. The main difference between the lab and museum settings is the shorter time spent viewing digital reproductions vs. real paintings, although subjective ratings (e.g., liking, interest) are comparable.

Discussion

Overall, this study indicates that the environmental context does impact the aesthetic experience; although, some beneficial effects of introducing additional relevant content in labels accompanying artworks can also be acquainted through digital media outside of the museum.

Disinterested attention and aesthetic experience

Research studies have focused on stimulus features as well as internal or contextual factors to understand aesthetic experience. An important question is the nature of processes that are involved in all aesthetic experiences. One possible process is "disinterested attention" that may be necessary for one to have an aesthetic experience. This can be contrasted with a perceiver who attends to an object or event only in a goal-directed or instrumental or practical manner. It has been claimed that "disinterested attention" involves attention being focused on the aesthetic object or event while being distributed across its features or components. Other ideas have focused on better reallocation of attention over time. The potential nature of attention could be linked to aspects of mindfulness. Studies looking at the effects of mindfulness on aesthetic experience have shown it increases the frequency of having aesthetic experience. The nature of attention needed for an aesthetic experience can be thought of as a form of generosity that could be linked to the notions of a gift. Mindful attention to objects or life as a gift, perhaps enables us to see objects and perhaps life itself in non-instrumental terms resulting in an aesthetic experience.

Prediction of emotion distribution of images based on weighted K-nearest neighbor-attention mechanism

Existing methods for classifying image emotions often overlook the subjective impact emotions evoke in observers, focusing primarily on emotion categories. However, this approach falls short in meeting practical needs as it neglects the nuanced emotional responses captured within an image. This study proposes a novel approach employing the weighted closest neighbor algorithm to predict the discrete distribution of emotion in abstract paintings. Initially, emotional features are extracted from the images and assigned varying K-values. Subsequently, an encoder-decoder architecture is utilized to derive sentiment features from abstract paintings, augmented by a pre-trained model to enhance classification model generalization and convergence speed. By incorporating a blank attention mechanism into the decoder and integrating it with the encoder's output sequence, the semantics of abstract painting images are learned, facilitating precise and sensible emotional understanding. Experimental results demonstrate that the classification algorithm, utilizing the attention mechanism, achieves a higher accuracy of 80.7% compared to current methods. This innovative approach successfully addresses the intricate challenge of discerning emotions in abstract paintings, underscoring the significance of considering subjective emotional responses in image classification. The integration of advanced techniques such as weighted closest neighbor algorithm and attention mechanisms holds promise for enhancing the comprehension and classification of emotional content in visual art.

Examining the gray cube effect on naïve viewers' appreciation of street-based art in Hong Kong and Poland

The present research investigates the appreciation of sanctioned street-based art among naïve viewers. It examines the role of viewing context in art appreciation, by experimentally testing a gray cube effect, which posits that street-based artworks are more likely to be identified as art (H1), liked more (H2), and understood more (H3) when viewed on the street. Identical procedures were carried out in Hong Kong (Experiment 1) and Lublin, Poland (Experiment 2), separately, sampling local artworks and local viewers. Experiment 1 tested 14 murals with 100 Hong Kongers; Experiment 2 tested 7 sculptures and 7 murals with 88 Poles. Participants were randomly assigned to either viewing street-based artworks on the street (gray cube) or viewing digital images of street-based artworks in a laboratory. The participants assessed each artwork in terms of art identification, liking, and understanding. These "twin" experiments yielded identical results, i.e., street-based artworks were liked more (H2) and understood more (H3) but not more likely to be identified as art (H1) on the street than in the laboratory. Overall, the present findings support the gray cube effect with ecologically valid data, and the effect seems robust across Western and Eastern cultural contexts and across genres of sculpture and mural.

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"

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.

Psychophysiological and behavioral responses to descriptive labels in modern art museums

Educational tools in art exhibitions seem crucial to improve the cultural and aesthetic experience, particularly of non-expert visitors, thus becoming a strategic goal for museums. However, there has not been much research regarding the impact of labels on the quality of visitors' aesthetic experience. Therefore, here we compared the impact on the cognitive and emotional experience of naïve visitors between essential and descriptive labels, through multiple objective and subjective measurements, focusing on the controversial modern art museum context. We found that, after detailed descriptions, observers spend more time inspecting artworks, their eyes wander more looking for the described elements, their skin conductance and pupil size increase, and overall, they find the content less complex and more arousing. Our findings show that people do receive important benefits from reading detailed information about artworks. This suggests that elaborating effective labels should be a primary goal for museums interested in attracting a non-expert public.

Proprioceptive art: How should it be defined, and why has it become so popular?

In recent years, there has been something of an explosion of interest in those artworks and installations that directly foreground the bodily senses. Often referred to as proprioceptive (or prop.) art, the question to be addressed in this narrative historical review is how it should be defined, and why has it become so popular? A contrast is drawn with examples of sculpture and/or tactile art. The entertainment/experiential element of such works cannot be denied, especially in an era where funding in the arts sector is so often linked to footfall. At the same time, however, a number of the works appear to be about little more than entertainment/amusement. One might wonder why such "edutainment" should be placed in the art gallery rather than, say, in a museum of science or illusion. Nevertheless, in the best cases, the foregrounding, or removal, of bodily sensations that proprioceptive artworks deliver can potentially help to connect people in an increasingly digital, online, mostly audiovisual, and hence in some sense disembodied contemporary existence. These issues are discussed in the context of the works of Carsten Höller, a prolific German installation and object artist.

If school walls could talk: A mixed-method study of physical space marking in promoting multiculturalism

Combining two qualitative and a quantitative method, we explored whether school’s physical environment promotes multicultural values or reflects intergroup climate in two multiethnic communities in Croatia. Croatia offers unique context for this study because minority youth from two ethnic groups use their right on minority language education and hence attend separate minority schools. Results show that the representation of ethnic symbols in schools is a reflection of inter-ethnic relations in the specific intergroup context. Specifically, ethnic symbols are overrepresented in the post-conflict context compared to the more harmonious multi-ethnic community. In harmonious intergroup context, multiculturality is promoted by emphasizing common identity, and by giving space to symbols of both minority and majority group. However, in the conflicted intergroup setting we found overrepresentation of symbols emphasizing intergroup differences. Results of focus groups as well as of the quantitative survey confirm that schools physical environment reflects intergroup relations in each community.

More Information, Greater Appreciation: The Correlation between Background Information and Aesthetic Judgment of Tourist Crafts

More information is often correlated with greater appreciation. Drawing on the model of aesthetic appreciation and aesthetic judgment in art psychology, this study aims to investigate changes in tourists' aesthetic judgments of tourist crafts when provided with different background information. Blue calico, an art form created through white pulp dyeing and printing, is an intangible cultural heritage of China. The photographs used in this study illustrate typical examples of blue calicos that are commonly sold in tourist gift shops in Wuzhen, China. Data from a sample of 133 participants (49 women and 84 men) was analyzed using Two-Way Repeated Measures ANOVA. We examined to what extent respondents varied their assessments of the calicos based on author manipulation of background factors, such as commentaries by the artist or details about the production process. We found that tourists' impressions of the aesthetics of blue calicos were predicted by background factors, especially those of tourists who were less interested in high arts. Specifically, blue calicos reported to tourists with names that conveyed an auspicious meaning predicted tourists' assessments of the calicos as more aesthetically pleasing. Explanations of the production process also predicted an increased appreciation of calico aesthetics. Conversely, artists' commentaries were not significantly correlated with an increased aesthetic merit of calicos. Understanding what may affect tourists' assessment of art could help those in the tourism industry market souvenirs to drive sales and enhance tourists' understanding and appreciation of intangible cultural heritage.

Titles and Semantic Violations Affect Eye Movements When Viewing Contemporary Paintings

The role of titles in perception of visual art is a topic of interesting discussions that brings together artists, curators, and researchers. Titles provide contextual cues and guide perception. They can be particularly useful when paintings include semantic violations that make them challenging for viewers, especially viewers lacking expert knowledge. The aim of this study is to investigate the effects of titles and semantic violations on eye movements. A total of 127 participants without expertise in visual art viewed 40 paintings with and without semantic violations (20 each) in one of three conditions: untitled, consistent titles and inconsistent titles. After each painting was viewed participants also rated liking and understanding. Our results suggest that titles affect the way paintings are viewed: both titled conditions were associated with shorter first fixation duration, longer saccade durations, and amplitudes and higher dynamic entropy than the untitled conditions. Titles were fixated on more frequently (but only in the time window between 1,200 and 2,800 ms) when presented alongside paintings with semantic violations than paintings without violations, and the percentage of fixations to titles was particularly high in the case of paintings with double inconsistencies (inconsistent titles and semantic violations). Also, we found that semantic violations attracted attention early on (300–900 ms), whereas titles received attention later (average first fixation on title was at 936.28 ms) and inconsistencies in titles were processed even later (after 4,000 ms). Finally, semantic violations were associated with higher dynamic entropy than paintings without violations. Our results demonstrate the importance of titles for processing of artworks, especially artworks that present a challenge for the viewers.

Greater art classification does not necessarily predict better liking: Evidence from graffiti and other visual arts

We tested the relationship between art classification and liking of the graffiti murals among naive viewers (N = 60 college students). Graffiti murals were classified as art to a lesser extent than both abstract and representational paintings. Surprisingly, graffiti murals were only liked less than representational but not abstract paintings. Thus, art classification might not necessarily predict liking.

Field study of audience experience in contemporary circus: An exploratory study on the impact of audience's expertise

This study took place during a contemporary circus festival to investigate the audience experience of contemporary circus street performances. Specifically, we explored the impact of expertise on audience experience (emotion, intellect, novelty, place, interaction, and technique) and performance evaluation (liking and self-perceived understanding). Based on the participants' self-report frequency of previous attendance of contemporary circus and current skill level in contemporary circus, we divided a sample of 349 adult audience members into three groups: low expertise, medium expertise, and high expertise. Expertise had a significant effect on audience experience; the high-expertise participants were more intellectually stimulated than both the medium- and low-expertise participants. Expertise had negligible effect on performance evaluation, but we note that performance reception could have been based on different interpretation styles; that is, more literal in participants lower in expertise and more metaphoric in participants higher in expertise. Finally, we found a clear positive association between audience experience and performance evaluation.