Art Perception in the Museum: How We Spend Time and Space in Art Exhibitions

Age-adapted painting descriptions change the viewing behavior of young visitors to the Rijksmuseum

Children learn about art by actively engaging with their surroundings. This makes museums potentially rich environments for learning and development. Yet, the descriptions of paintings on show are usually written for adults rather than younger visitors. This study uses mobile eye tracking to examine how painting descriptions tailored for children influence their eye movements when viewing paintings at the Rijksmuseum - the national museum of The Netherlands. Our findings underscore the importance of adapting information specifically for children, rather than simply providing them with adult-oriented museum materials. Children who received information tailored to their developmental level showed increased glance durations to areas highlighted in the descriptions. Strikingly, the behavior of children provided with painting descriptions intended for adults was no different from their behavior when they received no information at all.

A Phenomenological Study of Taiwanese Lesbians Viewing Female Figures in Paintings

As a response to the lack of academic attention paid to the relationship between lesbian spectatorship and aesthetic perceptions of paintings, this study is an inquiry into the Taiwanese lesbian experience of viewing paintings containing female figures. Descriptions and themes regarding the phenomenon were generated through semi-structured, in-person interviews with twenty participants according to phenomenologist van Manen's existential methods. Each participant took part in a minimum of two interviews. The first aimed to explore their previous experiences of viewing original paintings. The second examined how participants selected and made sense of the images of paintings they had chosen. The findings showed that, firstly, participants were able to draw connections to themselves, other women, and the spaces occupied by women in a wider patriarchal society through the act of viewing female figures in paintings. Secondly, participants demonstrated a high awareness of issues surrounding gender and other inequalities, which they often derived from female figures in paintings that they selected. The experience of viewing paintings can be considered a safe place of self-discovery, thereby promoting paintings as a platform for initiating discussions related to social and gender issues. Thus, this study not only sheds light on a group of people underrepresented in the visual arts and art education, but it also offers a unique, intimate understanding of the lived experiences of Taiwanese lesbians.

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.

Slow art plus: developing and piloting a single session art gallery-based intervention for mental health promotion via a mixed method waitlist randomized control trial

Introduction

The current study builds on the expertise of National Gallery Singapore and Nanyang Technological University Singapore (NTU) in developing and piloting an enhanced version of the Slow Art program, namely "Slow Art Plus" for mental health promotion.

Methods

A single-site, open-label, waitlist Randomized Control Trial (RCT) design comprising of a treatment group and waitlist control group was adopted (ClinicalTrials.gov ID: NCT05803226). Participants (N = 196) completed three online questionnaires at three timepoints: baseline [T1], immediately post-intervention/s baseline [T2], post-intervention follow-up/immediately post-intervention [T3]. Qualitative focus groups were conducted to evaluate program acceptability.

Results

A mixed model ANOVA was performed to understand intervention effectiveness between the immediate intervention group and waitlist control group. The analyses revealed a significant interaction effect where intervention group participants reported an improvement in spiritual well-being (p = 0.001), describing their thoughts and experiences (p = 0.02), and nonreacting to inner experiences (p = 0.01) immediately after Slow Art Plus as compared to the control group. Additionally, one-way repeated measure ANOVAs were conducted for the intervention group to evaluate maintenance effects of the intervention. The analyses indicated significant improvements in perceived stress (p < 0.001), mindfulness (p < 0.001) as well as multiple mindfulness subscales, active engagement with the world (p = 0.003), and self-compassion (p = 0.02) 1 day after the completion of Slow Art Plus. Results from framework analysis of focus group data revealed a total of two themes (1: Experiences of Slow Art Plus, 2: Insights to Effective Implementation) and six subthemes (1a: Peaceful relaxation, 1b: Self-Compassion, 1c: Widened Perspective, 2a: Valuable Components, 2b: Execution Requisites, 2c: Suggested Enhancements), providing valuable insights to the overall experience and implementation of the intervention.

Discussion

Slow Art Plus represents a unique approach, offering a standardized, multimodal, single-session program that integrates mindfulness and self-compassion practices, as well as reflective and creative expressions with Southeast Asian art. It demonstrates potential in meeting the mental health needs of a wide range of individuals and could be readily incorporated into social prescribing initiatives for diverse populations.

The Open Gallery for Arts Research (OGAR): An open-source tool for studying the psychology of virtual art museum visits

To expand the tools available to arts researchers in psychology, we present the Open Gallery for Arts Research (OGAR), a free, open-source tool for studying visitor behavior within an online gallery environment. OGAR is highly extensible, allowing researchers to modify the environment to test different hypotheses, and it affords assessing a wide range of outcome variables. After describing the tool and its development, we present a proof-of-concept study that evaluates OGAR's usability and performance and illustrates some ways that it can be used to study the psychology of virtual visits. With a sample of 44 adults from an online participant panel who freely explored OGAR, we observed that OGAR had good usability based on high scores on the System Usability Scale and rare instances of self-reported nausea, among other usability markers. Furthermore, using position and viewing data provided by OGAR, we found that participants navigated the gallery and interacted with the artwork in predictable and coherent ways that resembled visitor behavior in real-world art museums. OGAR appears to be a promising tool for researchers and art professionals interested in how people navigate and experience virtual and real art spaces.

Coalescing, Cross-Pollinating, Crystalising: Developing and Evaluating an Art Installation About Health Knowledge

The HIVE is an arts-based knowledge translation (ABKT) project that showcases work undertaken across Maridulu Budyari Gumal: the Sydney Partnership for Health, Education, Research and Enterprise (SPHERE). Here, we present two distinct forms of data (reflective and evaluative) to tell the story of The HIVE and outline the project's achievements and shortcomings. Reflective data are used to describe the process of establishing a creative, cross-disciplinary collaboration, in order to devise and produce The HIVE. Evaluative data are used to assess the impact of The HIVE on audiences. By presenting reflective and evaluative data together, we highlight that impact in ABKT cannot be reduced to an assessment of audience engagement with an ABKT end-product. Although audience impact is vital, in our experience, The HIVE also had a powerful impact on the researchers, health service users, artists and others who worked together to create it. The process of creating The HIVE informed research- and art-practice change, forged interdisciplinary networks, and enabled the growth of new patterns of knowledge sharing and collaboration. The reflective and evaluative data we present attest to different forms of impact resulting from the creation and exhibition of an ABKT project.

Examining the Flourishing Impacts of Repeated Visits to a Virtual Art Museum and the Role of Immersion

Visiting art museums has been associated with a range of flourishing outcomes. However, there have been recent shifts towards increasing digital engagement with art, leading to a radical change in how people experience visual art. Given the now expansive virtual art viewing options, it is important to understand whether digital engagement can also lead to greater flourishing, and, if so, under what conditions. We examined the flourishing effects of viewing art in a virtual gallery in a pre-registered experiment comprising four sessions over four weeks, with varying viewing instructions designed to increase immersion. Participants were recruited from a USA representative sample on Prolific, resulting in a final sample of 687 participants. People were randomly assigned to one of nine experimental conditions. Eight art viewing conditions involved four 15 min virtual gallery visits with viewing instructions varying on two factors: slow-looking and immersive mindset framing. An active control condition involved reading about (but not viewing) art. Participants completed a battery of baseline flourishing measures in week 1, completed experimental art engagement sessions during weeks 1-4, and completed the battery again in week 5. While immersion levels were greater in the viewing conditions than the reading condition, growth in flourishing did not differ across condition. Exploratory analyses, however, showed that immersion during the gallery visits did predict some changes in specific facets of flourishing (e.g., engagement, meaning, autonomy satisfaction). We suggest a number of possible explanations for these null results and point to what is needed in future research.

How do people distribute their attention while observing The Night Watch?

This study explored how people look at The Night Watch (1642), Rembrandt's masterpiece. Twenty-one participants each stood in front of the painting for 5 min, while their eyes were recorded with a mobile eye-tracker and their thoughts were verbalized with a think-aloud method. We computed a heatmap of the participants’ attentional distribution using a novel markerless mapping method. The results showed that the participants’ attention was mainly directed at the faces of the two central figures, the bright mascot girl in the painting, and detailed elements such as the apparel of the key figures. The eye-movement analysis and think-aloud data also showed that participants’ attention shifted from the faces of the key figures to other elements of the scene over the course of the 5 min. Our analyses are consistent with the theory that Rembrandt used light and texture to capture the viewer's attention. Finally, the robustness of the eye-tracking method was demonstrated by replicating the study on a smaller replica.

The influence of visitor-based social contextual information on visitors’ museum experience

Visitor-centered approaches have been widely discussed in the museum experience research field. One notable approach was suggested by Falk and Dierking, who defined museum visitor experience as having a physical, personal, and social context. Many studies have been conducted based on this approach, yet the interactions between personal and social contexts have not been fully researched. Since previous studies related to these interactions have focused on the face-to-face conversation of visitor groups, attempts to provide the social information contributed by visitors have not progressed. To fill this gap, we examined such interactions in collaboration with the Lee-Ungno Art Museum in South Korea. Specifically, we investigated the influence of individual visitors’ social contextual information about their art museum experience. This data, which we call “visitor-based social contextual information” (VSCI), is the social information individuals provide—feedback, reactions, or behavioral data—that can be applied to facilitate interactions in a social context. The study included three stages: In Stage 1, we conducted an online survey for a preliminary investigation of visitors’ requirements for VSCI. In Stage 2, we designed a mobile application prototype. Finally, in Stage 3, we used the prototype in an experiment to investigate the influence of VSCI on museum experience based on visitors’ behaviors and reactions. Our results indicate that VSCI positively impacts visitors’ museum experiences. Using VSCI enables visitors to compare their thoughts with others and gain insights about art appreciation, thus allowing them to experience the exhibition from new perspectives. The results of this novel examination of a VSCI application suggest that it may be used to guide strategies for enhancing the experience of museum visitors.

Similarity of gaze patterns across physical and virtual versions of an installation artwork

An experiment was conducted to compare museum visitors' gaze patterns using mobile eye-trackers, whilst they were engaging with a physical and a virtual reality (VR) installation of Piet Mondrian's Neo-plasticist room design. Visitors' eye movements produced approximately 25,000 fixations and were analysed using linear mixed-effects models. Absolute and area-normalized dwell time analyses yielded mostly non-significant main effects of the environment, indicating similarity of visual exploration patterns between physical and VR settings. One major difference observed was the decrease of average fixation duration in VR, where visitors tended to more rapidly switch focus in this environment with shorter bursts of attentional focus. The experiment demonstrated the ability to compare gaze data between physical and virtual environments as a proxy to measure the similarity of aesthetic experience. Similarity of viewing patterns along with questionnaire results suggested that virtual galleries can be treated as ecologically valid environments that are parallel to physical art galleries.

Familiarity and Novelty in Aesthetic Preference: The Effects of the Properties of the Artwork and the Beholder

Familiarity and novelty are fundamental yet competing factors influencing aesthetic preference. However, whether people prefer familiar paintings or novel paintings has not been clear. Using both behavioral and eye-tracking measures, the present study aimed to investigate whether the effect of familiarity-novelty on aesthetic preference is independent or dependent on artwork properties (painting content, visual complexity) and viewer characteristics (experience in art). Participants were presented with two images of paintings, one of which was repeatedly presented but was always paired with a new painting in a randomized lateral arrangement. They were asked to indicate which of the two images they preferred with the degree of their preference. Behavioral results demonstrated an interactive influence of painting content and complexity on familiarity-novelty preference, especially alongside the distinction between representational and abstract paintings. Also, the familiarity-novelty preference was modulated by the degree of art experience, for abstract paintings in particular. Gaze results showed the differential effects of painting content, complexity, and art experience echoing the behavioral results. Taken together, the convergent results derived from behavioral and eye-tracking measures imply that novelty is an important feature of aesthetic appreciation, but its influence is modulated by properties of both the artwork and the beholder.

Interior Design with Consumers’ Perception about Art, Brand Image, and Sustainability

In this study, the main research purpose was to determine whether artistic components of interior design in a store lead consumers to have different perceptions of the store. There were three main research questions. The first was whether consumers perceived the artistic components in a store visually. Second, based on the first research question, this study explored whether the artistic displays at the show window, around the furniture, and around the stairs were associated with consumers’ perceptions of the store as environmental-friendly. The third research question explored how the consumers’ perceptions of artistic and environment-friendly components were associated with the conventional marketing performance of the store. The 2 Stages Probit Least Squares (2SPLS) method was utilized to answer the first and second research questions and the 2 Stage Least Squares (2SLS) method was utilized for the third research question. Findings indicated that consumers had significant emotional responses from seeing artistic components in a store. In addition, these perceived art elements were associated with marketing performances, including pro-environmental perception, store differentiation, brand image, and consumer satisfaction. The practical implications were included in the discussion.

Testing a Calibration - Free Eye Tracker Prototype at the Kunsthistorisches Museum in Vienna

Eye tracking research in art viewership is often conducted in a laboratory setting where reproductions must be used in place of original art works and the viewing environment is less natural than in a museum. Recent technological developments have made museum studies possible but head-mounted eye tracking gear and interruptions by researchers still influence the experience of the viewer. In order to find a more ecologically valid way of recording eye movements while viewing artworks, we employed a prototype of a calibrationfree remote eye tracker hidden below selected paintings at the Kunsthistorisches Museum in Vienna. Museum visitors were unaware of the study and informed post hoc that we had registered their viewing behavior and asked to give consent for the use of their data. This article presents the study design as well as results from over 800 participants. While the data quality from the eye tracker prototype was not sufficient to conduct the intended analysis on within-painting gaze movements, this study might serve as a step towards an unobtrusive examination of the art viewing experience. It was possible to analyze time spent viewing paintings and those results show that certain paintings consistently drew significantly more prolonged attention from viewers.

Exploring the awe-some: Mobile eye-tracking insights into awe in a science museum

Informal learning environments provide the opportunity to study guests' experiences as they engage with exhibits specifically designed to invoke the emotional experience of awe. The current paper presents insight gained by using both traditional survey measures and innovative mobile eye-tracking technology to examine guests' experiences of awe in a science museum. We present results for guests' visual attention in two exhibit spaces, one chosen for its potential to evoke positive awe and one for negative awe, and examine associations between visual attention and survey responses with regard to different facets of awe. In this exploratory study, we find relationships between how guests attend to features within an exhibit space (e.g., signage) and their feelings of awe. We discuss implications of using both methods concurrently to shed new light on exhibit design, and more generally for working in transdisciplinary multimethod teams to move scientific knowledge and application forward.

The Display Makes a Difference: A Mobile Eye Tracking Study on the Perception of Art Before and After a Museum's Rearrangement

There is increasing awareness that the perception of art is affected by the way it is presented. In 2018, the Austrian Gallery Belvedere redisplayed its permanent collection. Our multidisciplinary team seized this opportunity to investigate the viewing behavior of specific artworks both before and after the museum's rearrangement. In contrast to previous mobile eye tracking (MET) studies in museums, this study benefits from the comparison of two realistic display conditions (without any research interference), an unconstrained study design (working with regular museum visitors), and a large data sample (comprising 259 participants). We employed a mixed-method approach that combined mobile eye tracking, subjective mapping (a drawing task in conjunction with an open interview), and a questionnaire in order to relate gaze patterns to processes of meaning-making. Our results show that the new display made a difference in that it 1) generally increased the viewing times of the artworks; 2) clearly extended the reading times of labels; and 3) deepened visitors' engagement with the artworks in their exhibition reflections. In contrast, interest in specific artworks and art form preferences proved to be robust and independent of presentation modes.

Ecological Art Experience: How We Can Gain Experimental Control While Preserving Ecologically Valid Settings and Contexts

One point that definitions of art experience disagree about is whether this kind of experience is qualitatively different from experiences relating to ordinary objects and everyday contexts. Here, we follow an ecological approach that assumes art experience has its own specific quality, which is, not least, determined by typical contexts of art presentation. Practically, we systematically observe typical phenomena of experiencing art in ecologically valid or real-world settings such as museum contexts. Based on evidence gained in this manner, we emulate and implement essential properties of ecological contexts (e.g., free choice of viewing distance and time, large scale of artworks, and exhibition-like context) in controlled laboratory experiments. We found, for instance, that for large-scale paintings by Pollock and Rothko, preferred viewing distances as well as distances inducing the most intense art experiences - including Aesthetic Aha insights - were much larger than typical viewing distances realized in laboratory studies. Following Carbon's (2019) terminology of measurement strategies of art experience, the combined use of "Path #1" (real-world context) and "Path #2" (mildly controlled, still ecologically valid settings and contexts) enables us to understand and investigate much closer what is really happening when people experience art.

Viewing Art in Different Contexts

While aesthetic experiences are not limited to any particular context, their sensorial, cognitive and behavioral properties can be profoundly affected by the circumstances in which they occur. Given the ubiquitous nature of contextual effects in nearly all aspects of behavior, investigations aimed at delineating the context-dependent and context-independent aspects of aesthetic experience and engagement with aesthetic objects in a diverse range of settings are important in empirical aesthetics. Here, we analyze the viewing behavior of visitors (N = 19) freely viewing 15 paintings in the 20th-century Australian collection room at the Art Gallery of New South Wales. In particular, we focus on how aspects of viewing behavior including viewing distance in the gallery condition and eye gaze measures such as fixation count, total fixation duration and average fixation duration are affected by the artworks’ physical characteristics including size and image statistics properties such as Fourier amplitude spectrum, fractal dimension and entropy. In addition, the same artworks were viewed in the laboratory, either scaled to fit most of the screen (N = 22) or to preserve their relative size as in the museum condition (N = 17) to assess the robustness of these relationships across different presentation contexts. We find that the effects of presentation context are modulated by the artworks’ physical characteristics.

Unveiling the Secrets of Escher's Lithographs

An impossible structure gives us the impression of looking at a three-dimensional object, even though this object cannot exist, since it possesses parts that are spatially non-connectable, and are characterized by misleading geometrical properties not instantly evident. Therefore, impossible artworks appeal to our intellect and challenge our perceptive capacities. We analyzed lithographs containing impossible structures (e.g., the Necker cube), created by the famous Dutch painter Maurits Cornelis Escher (1898-1972), and used one of them (The Belvedere, 1958) to unveil the artist's hidden secrets by means of a discrete model of the human retina based on a non-uniform distribution of receptive fields. We demonstrated that the ability of Escher in composing his lithographs by connecting spatial coherent details into an impossible whole lies in drawing these incoherent fragments just outside the zone in which 3D coherence can be perceived during a single fixation pause. The main aspects of our paper from the point of view of image processing and image understanding are the following: (1) the peculiar and original digital filter to process the image, which simulates the human vision process, by producing a space-variant sampling of the image; (2) the software for the filter, which is homemade and created for our purposes. The filtered images resulting from the processing are used to understand impossible figures. As an example, we demonstrate how the impossible figures hidden in Escher's paintings can be understood.

The Effect of Art Expertise on Eye Fixation-Related Potentials During Aesthetic Judgment Task in Focal and Ambient Modes

This study aimed to determine the effect of expertise on the eye fixation-related potentials (EFRPs) during the aesthetic evaluation of images, independently in focal and ambient modes of visual processing. Focal and ambient modes were identified by averaging EFRP waveforms about the beginning of long eye fixations followed by short saccades and short fixations followed by long saccades, respectively. Thirty experts with formal training in visual arts and thirty-two non-experts freely viewed 150 figurative paintings presented for 20 s, each. After viewing the painting, the participant answered the question: “Is this painting beautiful?” Differences were found between the group of experts and non-experts due to the amplitude of EFRPs but only in focal mode, which is related to top-down, focused attention on the objects. Long fixations of experts had a higher amplitude of the parietal P2 recorded from right site than non-experts. In the group of experts, the frontal P2 was higher for long fixations on not beautiful paintings in comparison to long fixation on beautiful paintings. Moreover, in focal mode, there were higher occipital lambda response and N1-P2 complex for not beautiful than beautiful paintings. These results are discussed in the light of the results of studies on the effect of visual art expertise on event-related potentials (ERPs), ERP studies during aesthetic judgment task, and the knowledge of different modes of visual processing and EFRPs.

Gist Perception of Image Composition in Abstract Artworks

Most recent studies in experimental aesthetics have focused on the cognitive processing of visual artworks. In contrast, the perception of formal compositional features of artworks has been studied less extensively. Here, we investigated whether fast and automatic processing of artistic image composition can lead to a stable and consistent aesthetic evaluation when cognitive processing is minimized or absent. To this aim, we compared aesthetic ratings on abstract artworks and their shuffled counterparts in a gist experiment. Results show that exposure times as short as 50 ms suffice for the participants to reach a stable and consistent rating on how ordered and harmonious the abstract stimuli were. Moreover, the rating scores for the 50 ms exposure time exhibited similar dependencies on image type and self-similarity and a similar pattern of correlations between different rating terms, as the rating scores for the long exposure time (3,000 ms). Ratings were less consistent for the term interesting and inconsistent for the term pleasing. Our results are compatible with a model of aesthetic experience, in which the early perceptual processing of the formal aspects of visual artworks can lead to a consistent aesthetic judgment, even if there is no cognitive contribution to this judgment.

Social Factors in Aesthetics: Social Conformity Pressure and a Sense of Being Watched Affect Aesthetic Judgments

The present study is a first attempt to experimentally test the impact of two specific social factors, namely social conformity pressure and a sense of being watched, on participants’ judgments of the artistic quality of aesthetic objects. We manipulated conformity pressure with a test form in which a photograph of each stimulus was presented together with unanimously low (downward pressure) or high quality ratings (upward pressure) of three would-be previous raters. Participants’ sense of being watched was manipulated by testing each of them in two settings, one of which contained an eyespots stimulus. Both social factors significantly affected the participants’ judgments—unexpectedly, however, with conformity pressure only working in the downward direction and eyespots leading to an overall downward shift in participants’ judgments. Our findings indicate the relevance of including explicit and implicit social factors in aesthetics research, thus also reminding us of the limitations of overly reductionist approaches to investigating aesthetic perception and experience.

Looking at paintings in the Vincent Van Gogh Museum: Eye movement patterns of children and adults

In the present study, we examined the eye movement behaviour of children and adults looking at five Van Gogh paintings in the Van Gogh Museum, Amsterdam. The goal of the study was to determine the role of top-down and bottom-up attentional processes in the first stages of participants’ aesthetic experience. Bottom-up processes were quantified by determining a salience map for each painting. Top-down processing was manipulated by first allowing participants to view the paintings freely, then providing background information about each painting, and then allowing them to view the paintings a second time. The salience analysis showed differences between the eye movement behaviour of children and adults, and differences between the two phases. In the children, the first five fixations during the free viewing phase were strongly related to visually salient features of the paintings—indicating a strong role for bottom-up factors. In the second phase, after children had received background information, top-down factors played a more prominent role. By contrast, adults’ observed patterns were similar in both phases, indicating that bottom-up processes did not play a major role when they viewed the paintings. In the second phase, children and adults both spent more time looking at regions that were mentioned in the background information. This effect was greater for adults than for children, confirming the notion that adults, when viewing paintings, rely much more on top-down processing than children.