Viewing Art in Different Contexts

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.

Reading in the city: mobile eye-tracking and evaluation of text in an everyday setting

Reading is often regarded as a mundane aspect of everyday life. However, little is known about the natural reading experiences in daily activities. To fill this gap, this study presents two field studies (N = 39 and 26, respectively), where we describe how people explore visual environments and divide their attention toward text elements in highly ecological settings, i.e., urban street environments, using mobile eye-tracking glasses. Further, the attention toward the text elements (i.e., shop signs) as well as their memorability, measured via follow-up recognition test, were analysed in relation to their aesthetic quality, which is assumed to be key for attracting visual attention and memorability. Our results revealed that, within these urban streets, text elements were looked at most, and looking behaviour was strongly directed, especially toward shop signs, across both street contexts; however, aesthetic values were not correlated either with the most looked at signs or the viewing time for the signs. Aesthetic ratings did however have an effect on memorability, with signs rated higher being better recognised. The results will be discussed in terms aesthetic reading experiences and implications for future field studies.

Thinking eyes: visual thinking strategies and the social brain

The foundation of art processes in the social brain can guide the scientific study of how human beings perceive and interact with their environment. Here, we applied the theoretical frameworks of the social and artistic brain connectomes to an eye-tracking paradigm with the aim to elucidate how different viewing conditions and social cues influence gaze patterns and personal resonance with artworks and complex imagery in healthy adults. We compared two viewing conditions that encourage personal or social perspective taking-modeled on the well-known Visual Thinking Strategies (VTS) method-to a viewing condition during which only contextual information about the image was provided. Our findings showed that the viewing conditions that used VTS techniques directed the gaze more toward highly salient social cues (Animate elements) in artworks and complex imagery, compared to when only contextual information was provided. We furthermore found that audio cues also directed visual attention, whereby listening to a personal reflection by another person (VTS) had a stronger effect than contextual information. However, we found no effect of viewing condition on the personal resonance with the artworks and complex images when taking the random effects of the image selection into account. Our study provides a neurobiological grounding of the VTS method in the social brain, revealing that this pedagogical method of engaging viewers with artworks measurably shapes people's visual exploration patterns. This is not only of relevance to (art) education but also has implications for art-based diagnostic and therapeutic applications.

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.

Can we really 'read' art to see the changing brain? A review and empirical assessment of clinical case reports and published artworks for systematic evidence of quality and style changes linked to damage or neurodegenerative disease

The past three decades have seen multiple reports of people with neurodegenerative disorders, or other forms of changes in their brains, who also show putative changes in how they approach and produce visual art. Authors argue that these cases may provide a unique body of evidence, so-called 'artistic signatures' of neurodegenerative diseases, that might be used to understand disorders, provide diagnoses, be employed in treatment, create patterns of testable hypotheses for causative study, and also provide unique insight into the neurobiological linkages between the mind, brain, body, and the human penchant for art-making itself. However-before we can begin to meaningfully build from such emerging findings, much less formulate applications-not only is such evidence currently quite disparate and in need of systematic review, almost all case reports and artwork ratings are entirely subjective, based on authors' personal observations or a sparse collection of methods that may not best fit underlying research aims. This leads to the very real question of whether we might actually find patterns of systematic change if fit to a rigorous review-Can we really 'read' art to illuminate possible changes in the brain? How might we best approach this topic in future neuroscientific, clinical, and art-related research? This paper presents a review of this field and answer to these questions. We consider the current case reports for seven main disorders-Alzheimer's and Parkinson's disease, frontotemporal and Lewy body dementia, corticobasal degeneration, aphasia, as well as stroke-consolidating arguments for factors and changes related to art-making and critiquing past methods. Taking the published artworks from these papers, we then conduct our own assessment, employing computerized and human-rater-based approaches, which we argue represent best practice to identify stylistic or creativity/quality changes. We suggest, indeed, some evidence for systematic patterns in art-making for specific disorders and also find that case authors showed rather high agreement with our own assessments. More important, through opening this topic and past evidence to a systematic review, we hope to open a discussion and provide a theoretical and empirical foundation for future application and research on the intersection of art-making and the neurotypical, the changed, and the artistic brain.

Statistical image properties predict aesthetic ratings in abstract paintings created by neural style transfer

Artificial intelligence has emerged as a powerful computational tool to create artworks. One application is Neural Style Transfer, which allows to transfer the style of one image, such as a painting, onto the content of another image, such as a photograph. In the present study, we ask how Neural Style Transfer affects objective image properties and how beholders perceive the novel (style-transferred) stimuli. In order to focus on the subjective perception of artistic style, we minimized the confounding effect of cognitive processing by eliminating all representational content from the input images. To this aim, we transferred the styles of 25 diverse abstract paintings onto 150 colored random-phase patterns with six different Fourier spectral slopes. This procedure resulted in 150 style-transferred stimuli. We then computed eight statistical image properties (complexity, self-similarity, edge-orientation entropy, variances of neural network features, and color statistics) for each image. In a rating study, we asked participants to evaluate the images along three aesthetic dimensions (Pleasing, Harmonious, and Interesting). Results demonstrate that not only objective image properties, but also subjective aesthetic preferences transferred from the original artworks onto the style-transferred images. The image properties of the style-transferred images explain 50 – 69% of the variance in the ratings. In the multidimensional space of statistical image properties, participants considered style-transferred images to be more Pleasing and Interesting if they were closer to a “sweet spot” where traditional Western paintings (JenAesthetics dataset) are represented. We conclude that NST is a useful tool to create novel artistic stimuli that preserve the image properties of the input style images. In the novel stimuli, we found a strong relationship between statistical image properties and subjective ratings, suggesting a prominent role of perceptual processing in the aesthetic evaluation of abstract images.

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 Image as Language: The Creation and the Use of the Visual Message by Young University Students in Their Communicative Social Activity

Visual language, taken from the creation and reception of image perspectives, is ever-present in mediatized societies. With an interest in knowing what the experience of this is, a study is carried out in a university context, in the Faculty of Education at the University of Murcia, with the participation of 321 young students. The main objective of this study is to delve into the visual message, as a universal language in its productive and interpretative aspects, within a context marked by technology and the large-scale creation and use of images. The investigation is carried out by starting with a typical target performance, an individual, objective questionnaire which included three dimensions: the use of photographs, the use of graphic images, and the level of reflection and veracity of the image. A Principal Components Analysis (PCA) is carried out, which gives rise to a new conceptual organization after the Oblimin rotation based on the underlying variables. The data shows significant differences depending on the educational interests, a steady decrease in the use of images as ages increase, as well as less use of the image as a language among participants who are men. Men also make fewer requests for permission and transfer of permission, which are for the use of their own image by third parties. There is also evidence of a greater social value given to the image by women, as well as greater reflection and questioning of the message over the thirties, also by women.

The role that composition plays in determining how a viewer looks at landscape art

Viewing artworks may be subject to the same processes as everyday scene selection in respect of gaze behaviour. However, artists may employ carefully constructed composition in their paintings to lead the eyes of viewers along a predetermined path. This paper investigates whether composition is successful through comparison of expected scanpaths (constructed using the known intention of the artist) and actual scanpaths (as captured using an eye-tracker) based on a loci and sequence similarity index. The findings suggest that composition is successful in leading the eye, although the order of fixations can vary. It could thus be concluded that composition is largely successful in terms of salient elements, but less so for guiding elements. Furthermore, using Cognitive Linguistics theories and applying it to the paintings with reference to the statistical results, the Art Creation Continuum that captures the role of composition on a spectrum is proposed.